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REVISED EDITION WITH HELPS TO STUDY 

SHAKSPERE'S 

THE TEMPEST 



EDITED PX:)R SCHOOE I'SE 

WILLIAM ALLAN NEILSON 

PRESIDENT SMITH COLLEGE 



SCOTT, FORESMAN AND COMPANY 
CHICAGO NEW YORK 






CoPYRiGiH 1914, 1920 
By Scott, Foresman and Company 



NOV 26'IS20 
©CLA60J.904 



•> jt. k 



PREFACE 

As in the previous volumes of this series, the 
aim has been to present a satisfactory text of 
the play, modernized in spelling and punctua- 
tion, and to furnish in the introduction and 
notes comment enough to render it thoroughly 
intelligible. The first section of the introduc- 
tion is intended to give the student an idea of 
the place of the play in the history of the Eng- 
lish drama in general, and of Shakspere's de- 
velopment in particular. The second section 
deals with the date and sources of The Tempest, 
and discusses Shakspere's meter and language. 

In stating the result of research into the 
source of the plot, I have dealt witli-the sug- 
gested originals somewhat fully, in spite of the 
fact that I believe the true source has not yet 
been discovered. The accounts given here, how- 
ever, are sufficient to enable the student to judge 
for himself whether- either the German play or 
the Spanish tale is Avorthy of further study in 
this connection. Since the restoration of authen- 
ticity to Cunningham's extracts from the Ac- 
counts of the Revels at Court by Mr. Ernest 
Law the date of the production of The Tempest 
7 



8 PEEFACE 

can be fixed within the limits of a year, and 
much of the discussion over the performance of 
the play at the marriage of the Princess Eliza- 
beth, Avith all the attempts to find in it a courtly 
allegor}', can now be dispensed with. 

The interest of The Tempest is not primarily 
dramatic. The element of conflict, so essential 
for dramatic vitality whether in comedy or 
tragedy, is not powerful enough here to create 
any greaj degree of suspense. Before we know 
of Prospero's danger from Caliban and his 
fellow-conspirators, or of the risk run by Alonso 
from the more serious villains of the piece, we 
are too well assured of the all-sufficient power 
of the magician to have any real doubt as to 
the success of his plans; while the course of 
Ferdinand and- Miranda's true love runs smooth 
to all eyes but their own. Yet the play bears 
abundant testimony to Shakspere's mature mas- 
tery of technic, both in the (for him) rare ob- 
servance of the unities of place and time, and 
in the employment of many devices for the sus- 
tainmg of interest. 

The drawing of character is simpler than in 
perhaps any other of the later plays. In the 
case of the heroine this is a natural outcome of 
her situation : but even the sophisticated Italian 
courtiers show little trace of any attempt to 
give ^em complexity. They are painted with 
detail enough to justify their parts in the action, 



PEEJTACE 9 

and with that the author seems to have been 
content. 

Yet few of Shakspere's plays possess a more 
marked charm than this, a charm derived chiefly 
from the delightful poetry of the lines, from the 
mellow wisdom of the speeches of Prospero, and 
from the definiteness with which the atmosphere 
of the enchanted island is brought before our 
imaginations. To create a due appreciation of 
these elements in the minds of his pupils is the 
main task of anyone who would teach The 
Tempest. 

For further details on the life and work of 
Shakspere the following may be referred to: 
Dowden's Shakspere Primer , and Shakspere, His 
Mind and Art; Sir Sidney Lee's Life of William 
Shakespeare (revised edition, 1909) ; Boas's 
Shakspere and His Predecessors; and The Facts 
about Shakespeare, by Neilson and Thorndike. 
For a general account of the English drama of 
the period, see A. W. Ward's History of English 
Dramatic Literature (revised edition, 1899), 
F. E. Schelling's Elizabethan Drama, and vol- 
umes y and VI of The Cambridge History of 
English Literature, all of, Avhich contain abun- 
dant bibliographical material. For questions of 
language and grammar, see A. Schmidt's Shake- 
speare-Lexicon; J. Bartlett's Concordance to 
Shakespeare; Onions 's Shakespeare Glossary, s.nd 
E. A. Abbott's Shakespearian Grammar. As 



10 PREFACE 

usual, Dr. H. H. Furness's New Variorum edi- 
tion of the present play is a valuable compen- 
dium of the results of scholarship on the subject. 
In the preparation of the present edition I 
have been much indebted to Mr. H. W. Her- 

rington. 

W. A. N. 

Harvard University. 
October, 1913. 



CONTENTS 

PAGE 

Preface ■ 7 

Introduction — 

I. Shakspere and the Englisli Drama ... 13 

II. The Tempest 32 

Text . 49 

Notes 161 

Word Index 196 

Appendix 

Helps to Study 2C6 

Theme Subjects 212 



INTRODUCTION 

I. SHAKSPERE AND THE ENGLISH DRAMA 

The wonderful rapidity of the development of 
the English drama in the last quarter of the 
sixteenth century stands in striking contrast to 
the slowness of its growth before that period. 
The religious drama, out of which the modern 
dramatic forms were to spring, had dragged 
through centuries with comparatively little 
change, and was still alive when, in 1576, the 
first theater was built in London. By 1600 
Shakspere had written more than half his plays 
and stood complete master of the art which he 
brought to a pitch unsurpassed in any age. 
Much of this extraordinary later progress was 
due to contemporary causes; but there entered 
into it also certain other elements which can be 
understood only in the light of the attempts that 
had been made in the three or four preceding 
centuries. 

In England, as in Greece, the drama sprang 
from religious ceremonial. The ]Mass, the center 
of the public worship of the Roman 
before^ churcli, coutaiucd dramatic mate- 

rial in the gestures of the officiat- 
ing priests, in the narratives contained in the 
13 



14 INTEODUCTION 

Lessons, and in the responsive singing and 
chanting. Latin, the language in which the 
services were conducted, was unintelligible to 
the mass of the people, and as early as the fifth 
century the clergy had begun to use such de- 
vices as tableaux vivants of scenes like the mar- 
riage in Cana and the Adoration of the Magi, to 
make comprehensible important events in Bible 
history. Later, the Easter services were illu- 
minated by representations of the scene at the 
sepulcher on the morning of the Resurrection, 
in which a wooden, and afterwards a stone, 
structure was used for the tomb itself, and the 
dialogue was chanted by different speakers rep- 
resenting respectively the angel, the disciples, 
and the women. From such beginnings as this 
there gradually evolved the earliest form of the 
Miracle Play, 

As the presentations became more elaborate, 
the place of performance was moved first to the 
churchyard, then to the fields, and finally to the 
streets and open spaces of the towns. "With this 
change of locality went a change in the language 
and in the actors and an extension of the field 
from which the subjects were chosen. Latin 
gave way to the vernacular, and the priests to 
laymen ; and miracle plays representing the 
lives of patron saints were given by schools, 
trade gilds, and other lay institutions. A fur 
ther development appeared when, instead of 



SHAKSPEEE AND ENGLISH DEAMA 15 

single plays, whole series such, as the extant 
York, Chester, and Coventry cycles were given, 
dealing in chronological order with the most 
important events in Bible history from the Cre- 
ation to the Day of Judgment. 

The stage used for the miracle play as thus 
developed was a platform mounted on wheels, 
which was moved from space to space through 
the streets. Each trade undertook one or more 
plays, and, Avhen possible, these were allotted 
with reference to the nature of the particular 
trade. Thus the play representing the visit of 
the Magi bearing gifts to the infant Christ was 
given to the goldsmiths, and the building of 
the Ark to the carpenters. The costumes were 
conventional and frequently grotesfjue. Judas 
always wore red hair and a red beard; Herod 
appeared as a fierce Saracen ; the devil had a 
terrifying mask and a tail;, and divine person- 
ages Avore gilt hair. 

Meanwhile the attitude of the church toward 
these performances had changed. Priests were 
forbidden to take part in them, and as early as 
the fourteenth century we find sermons directed 
against them. The secular management had a 
more important result in the introduction of 
comic elements. Figures such as Noah's wife 
and Herod became frankly farcical, and whole 
episodes drawn from contemporar}^ life and full 
of local color were invented, in which the orig- 



IQ INTEODUCTION 

inai aim of edification was displaced by an ex- 
plicit attempt ' at pure entertainment. Most of 
these features were characteristic of the religious 
drama in general throughout Western Europe. 
But the local and contemporary elements nat- 
urally tended to become national; and in Eng- 
land we find in these humorous episodes the 
beginnings of native comedy. 

Long before the miracle plays had reached 
their height, the next stage in llie development 
of the drama had begun. Even in very early 
performances there had appeared, among the 
drama 'is personce drawn from the Scriptures. 
personifications of abstract qualities such as 
Righteousness, Peace, Mercy, and Truth. In 
the fifteenth century this allegorical tendency, 
which was prevalent also in the non-dramatic 
literature of the age, resulted in the rise of an- 
other kind of play, the Morality^ in which the 
action had an allegorical signification, the char- 
acters were mainly personifications or highly 
universalized tjq^es, and the aim was the teach- 
ing of moral lessons or social or religious reform. 
Thus the most powerful of all the Moralities, Sir 
David Lindesay's Satire of the Three Estates, 
is a direct attack upon the corruption in the 
church just before the Reformation 

The advance implied in the Morality consisted 
not so much in any increase in the vitality of 
the characters or in the interest of the plot (in 



iSMAKSPEEE AND ENGLISH Di:A:MA 17 

both of which, indeed, there was usually a fall- 
ing off), as in the fact that in it the drama had 
freed itself from the bondage of having to choose 
its subject matter from one set of sources — the 
Bible, the Apocrypha, and the Lives of the 
Saints. This freedom was shared by the Inter- 
lude, a form not always to be distinguished 
from the Morality, but one in which the tend- 
ency was to substitute for personified abstrac- 
tions actual social types such as the Priest, the 
Pardoner, or the Palmer, and the plot had no 
double meaning. A feature of both forms was 
the Vice, a humorous character who appeared 
under the various disguises of Hypocrisy, Fraud, 
and the 'ike, and whose function it was to make 
fun, chiefly at the expense of the Devil. The 
Vice is historically important as having be- 
({ueathed some of his characteristics to the Fool 
of the later drama. 

John Heywood, the most important writer of 
Interludes, lived well into the reign of Eliza- 
beth, and even the miracle play persisted into 
the reign of her successor in the seventeenth 
centur.v. But long before it finally disappeared 
it had become a mere medieval survival. A new 
England had meantime come into being and new 
forces w^ere at w^ork, manifesting themselves in 
a dramatic literature infinitely bej^ond anything 
even suggested by the crude forms which have 
been described. 



18 INTEODrCTION 

The great European intellectual movement 
known as the Renaissance had at last reached 
England, and it brought with it materials for 
an unparalleled advance in all the living forms 
of literature. Italy and the classics, especially, 
supplied literary models and material. Not only 
were translations from these sources abundant, 
but Italian players visited England, and per- 
formed before Queen Elizabeth. France and 
Spain, as well as Italy, flooded the literary 
market with collections of tales, from which, 
both in the original languages and in such 
translations as are found in Paynter's Palace of 
Pleasure (published 1566-67), the dramatists 
drew materials for their plots. 

These literary conditions, however, did not 
do much beyond offering a means of expression. 
For a movement so magnificent in scale as that 
which produced the Elizabethan Drama, some- 
thing is needed besides models and material. In 
the present instance this something is to be 
found in the state of exaltation which charac- 
terized the spirit of the English people in the 
days of Queen Elizabeth. Politically, the nation 
was at last one, after the protracted divisions 
of the Reformation, and its pride was stimulated 
by its success in the fight with Spain. Intellec- 
tually, it was sharing with the rest of Europe 
the exhilaration of the Renaissance. New lines 
of action in all parts of the world, new lines of 



SHAKSPERE AND ENGLISH DKAMA 19 

thought in all departments of scholarship and 
intellectual speculation, were opening up; and 
the whole land was throbbing with life. * 

In its very beginnings the new movement in 
England showed signs of that combination of 
native tradition and foreign influence which was 
to characterize it throughout. The first regular 
English comedy, Udall's Ralph Roister Doister, 
was an adaptation of the underplot of the Eiinu- 
chiis of Terence to contemporary English life. 
After a short period of experiment by amateurs 
working chiefly under the influence of Seneca, 
we come upon a band of professional play- 
wrights who not onl}^ prepared the way for 
Shaklspere, but in some instances produced 
works of great intrinsic worth. The mytholog- 
ical dramas of Lyly with the bright repartee of 
their prose . dialogue and the music of their 
occasional lyrics, the interesting experiments of 
Greene and Peele, and the horrors of the tragedy 
of Kyd, are all full of suggestions of what was 
to come. But by far the greatest of Shak- 
spere's forerunners was Christopher Marlowe, 
who not only has the credit of fixing blank verse 
as the future poetic medium for English tragedy, 
but who in his plays from Tamhurlaine to Ed- 
ward II. contributed to the list of the permanent 
masterpieces of the English drama. 

It was in the professional society of these men 
that Shakspere found himself when he came to 



20 INTRODUCTION 

London. Born in the provincial town of Strat- 

ford-on-Avon in the heart of England, he was 

baptized on April 26, 1564 (May 

Shakspere's g|-]^ according to our reckoning). 

Early Life. ? to &/ 

The exact day of his birth is un- 
known. His father was John Shakspere, a fairly 
prosperous tradesman, who may be supposed 
to have followed the custom of his class in edu- 
cating his son. If this were so, William would 
be sent to the Grammar School, already able to 
read, when he was seven, and there he would be 
set to work on Latin Grammar, followed by 
reading, up to the fourth year, in Cato 's Maxims^ 
^sop's Fables, and parts of Ovid, Cicero, and 
the medieval poet Mantuanus. If he continued 
through the fifth and sixth years, he would read 
parts of Vergil, Horace, Terence, Plautus, and 
the Satirists. Greek was not usually taught in 
the Grammar Schools. Whether he went through 
this course or not we have no means of knowing, 
except the evidence afforded by the use of the 
classics in his works, and the famous dictum 
of his friend, Ben Jonson, that he had ''small 
Latin and less Greek." What we are sure of is 
that he was a boy of remarkable acuteness of 
observation, who used his chances for picking 
up facts of all kinds; for only thus could he 
have accumulated the fund of information which 
he put to such a variety of uses in his writings. 
Throughout the poet's early boyhood the for- 



SHAKSPERE AND ENGLISH DRAMA 21 

tunes of John Shakspere kept improving until he 
reached the position of High Bailiff or Mayor 
of Stratford. When William was about thirteen, 
however, his father began to meet with reverses, 
and these are conjectured to have led to the 
boy's being taken from school early and set to 
work. What business he was taught we do not 
know, and indeed we have little more informa- 
tion about him till the date of his marriage in 
November, 1582, to Anne Hathaway, a woman 
from a neighboring village, who was seven years 
his senior. Concerning his occupations in the 
years immediately preceding and succeeding his 
marriage several traditions have come down, — 
of his having been apprenticed as a butcher, 
of his having taken part in poaching expeditions, 
and the like — but none of these is based upon 
sufficient evidence. About 1585 he left Strat- 
ford, and probably by the next year he had 
found his way to London. 

How soon and in what capacity he first be- 
came attached to the theaters we are again 
unable to say, but by 1592 he had certainly been 
engaged in theatrical affairs long enough to give 
some occasion for the jealous outburst of a rival 
playwright, Robert Greene, who in a pamphlet 
posthumously published in that year, accused 
him of plagiarism. Henry Chettle, the editor of 
Greene's pamphlet, shortly after apologized for 
his connection with the charge, and bore witness 



22 INTEODUCTION 

to Shakspere's honorable reputation as a man 
and to his skill both as an actor and a dramatist. 

Robert Greene, who thus supplies us with the 
earliest extant indications of his rival's presence 
in London, was in many ways a typical figure 
among the playwrights with whom Shakspere 
worked during this early period. A member of 
both universities, Greene came to the metropolis 
while yet a young man, and there led a life of 
the most diversified literary activity, varied with 
bouts of the wildest debauchery. He was a 
writer of satirical and controversial pamphlets, 
of romantic tales, of elegiac, pastoral, and lyric 
poetry, a translator, a dramatist, — in fact, a 
literary jack-of -all-trades. The society ip which 
he lived consisted in part of ''University "Wits" 
like himself, in part of the low men and women 
who haunted the vile taverns of the slums to 
prey upon such as he. ''A world of black- 
guardism dashed with genius, ' ' it has been called 
and the phrase is fit enough. Among such sur- 
roundings Greene lived, and among them he 
died, bankrupt in body and estate, the victim of 
his own ill-governed passions. 

In conjunction with such men as this Shak- 
spere began his life-work. His first dramatic 
efforts were made in revising the plays of his 
predecessors with a view to their revival on the 
stage; and in Titus Andronicus and the first 
part of Henry VI. we have examples of this kind 



SHAKSPxEEE AXD ENGLISH DEAMA 03 

of work. The next step was probably the pro- 
duction of plays in collaboration with other 
writers, and to this practice, which he almost 
abandoned in the middle of his career, he seems 
to have returned in his later years in such plays 
as Pericles, Henry VIII. , and The Two Nohle 
Kinsmeyi. How far Shakspere was of this disso- 
lute set to which his fellow-workers belonged it 
is impossible to tell; but we know that by and 
by, as he gained mastery over his art and be- 
came more and more independent in work and 
in fortune, he left this sordid life behind him, 
and aimed at the establishment of a family. In 
half a dozen years from the time of Greene's 
attack, he had reached the top of his profession, 
was a sharer in the profits of his theater, and 
had invested his savings in land and houses in 
liis native town. The youth who ten years before 
had left Stratford poor and burdened with a 
wife and three children, had now become "Wil- 
liam Shakspere, Gentleman." 

During these years Shakspere 's literary work 
was not confined to the drama, which, indeed, 
was then hardly regarded as a form of literature. 
In 1593 he published Venus and Adonis, and in 
1594, Lucrece, two poems belonging to a class 
of highl}^ wrought versions of classical legends 
w^hich was then fashionable, and of which Mar- 
lowe 's Hero and, Leander is the other most fa- 
mous example. For several years, too, in the last 



24 INTEODUCTION 

decade of the sixteenth century and the first 
few years of the seventeenth, he was composing 
a series of sonnets on love and friendship, in 
this also following a literary fashion of the 
time. Yet these give lis more in the way of 
self-revelation than anything else he has left. 
From them we seem to be able to catch glimpses 
of his attitude toward his profession, and one of 
them makes us realize so vividly his perception 
of the tragic risks of his surroundings that it 
is set down here : 

O, for my sake do you with Fortune chide, 

The guilty goddess of my harmful deeds, 
That did not better for my life provide 

Than public means which public manners breeds. 
Thence comes it that my name receives a brand. 

And almost thence my nature is subdued 
To what it works in, like the dyer's hand: 

Pity me then and wish I were renewed; 
Whilst, like a willing patient, I will drink 

Potions of eisel 'gainst my strong infection; 
No bitterness that I will bitter think. 

Nor double penance to correct correction. 
Pity me then, dear friend, and I assure ye 
Even that your pity is enough to cure me. 

It does not seem possible to avoid the inferences 
lying on the surface of this poem ; but whatever 
confessions it may imply, it serves, too, to give 
us the assurance that Shakspere did not easily 
and blindly yield to the temptations that sur- 
rounded the life of the theater of his time. 



SHAKSPEEE AND ENGLISH DEAMA 25 

For the theater of Sliakspere's day was no 
very reputable affair. Externally it appears' 
to ns now a very meager apparatus — almost 
absurdly so, when we reflect on the grandeur of 
the compositions for which it gave 
ii]iizabetiian occasiou. A rouo'hlv cH'cular 

1 dealer. . . . 

wooden building, with a roof over 
the stage and over the galleries, but with the pit 
often open to the wind and weather, having very 
little scenery and practically no attempt at the 
achievement of stage-illusion, such was the scene 
of the production of some of the greatest imagi- 
native works the world has seen. Nor was the 
audience very choice. The more respectable citi- 
zens of Puritan tendencies frowned on the 
theater to such an extent that it was found 
advisable to place the buildings outside the city 
limits and. beyond t]ie jurisdiction of the city 
fathers. The pit was thronged with a motley 
crowd of petty tradesfolk and the dregs of the 
town; the gallants of the time sat on stools on 
the stage, '"drinking" tobacco and chaffing the 
actors, their efforts divided between displaying 
their wit and their clothes. The actors were all 
male, the women's parts being taken by boA^s 
whose voices were not vet broken. The costumes, 
frequently the cast-off clothing of the gallants, 
were often gorgeous, but seldom appropriate. 
Thus the success of the performance had to de- 
pend upon the excellence of the piece, the merit 



26 INTEODTJCTIOX 

of the acting, and the readiness of appreciation 
of the audience. 

This last point, however, was more to be relied 
upon than a modern student might imagine. 
Despite their dubious respectability, the Eliza- 
bethan playgoers must have been of wonderfully 
keen intellectual susceptibilities. For clever 
feats in the manipulation of language, for puns, 
happy alliterations, delicate melody such as we 
find in the lyrics of the times, for the thunder 
of the pentameter as it rolls through the trage- 
dies of Marlowe, they had a practised taste. 
Qualities which we now expect to appeal chiefly 
to the literary appear to have been relished by 
men who could neither read nor write, and who 
at the same time enjoyed jokes which would be 
too broad, and stage massacres which would be 
too bloody, for a modern audience of sensibilities 
much less acute in these other directions. In 
it all we see how far-reaching was the wonderful 
vitality of the time. 

This audience Shakspere knew thoroughly^ 

and in his writing he showed himself always, 

with whatever growth in perma- 

Dramatic ncut artistic qualitics, the clever 

Development. 

man of business with his eye on 
the market. Thus we can trace throughout the 
course of his production two main lines: one 
indicative of the changes of theatrical fashions ; 
one, more subtle and more liable to misinter- 



SHAKSPERE AND ENGLISH DRAMA 



27 



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28 INTEODUCTION 

pretation, showing the progress of his own 
spiritual growth. 

The chronology of Shakspere 's plays will prob- 
ably never be made out with complete assurance, 
but already much has been ascertained (1) from 
external evidence such as dates of acting or 
publication, and allusions in other works, and 
(2) from internal evidence such as references 
to books or events of known date, and considera- 
tions of meter and language. The arrangement 
On page 27 represents what is probably an ap- 
proximately correct view of the chronological 
sequence of his works, though scholars are far 
from being agreed upon many of the details. 

The first of these groups contains three com- 
edies of a distinctly experimental character, and 
a number of chronicle-histories, some of which, 
like the three parts of Henry VI., were almost 
certainly written in collaboration with other 
playwrights. The comedies are light, full of 
ingenious plays On words, and the verse is often 
rimed. The first of them, at least, s^iows the 
influence of Lyly. The histories also betray a 
considerable delight in language for its own 
sake, and the Marlowesque blank verse, at its 
best eloquent and highly poetical, not infre- 
quently becomes ranting, while the pause at the 
end of each line tends to become monotonous. 
The extent of Shakspere 's share in Titus An- 
dronicus is still debated. 



SHAKSPERE AND ENGLISH PRAMA 29 

The second period contains a group of com- 
edies marked by brilliance in tHe dialogue; 
wholesomeness, capacity, and high spirits in the 
main characters, and a pervading feeling of 
good-humor. The histories contain a larger 
comic element than in the first period, and are 
no longer suggestive of Marlowe. Rimes have 
become less frequent, and the blank verse has 
freed itself from the bondage of the end-stopped 
line. 

The plays of the third period are tragedies, or 
comedies with a prevailing tragic tone. Sh^fk- 
spere here turned his attention to those elements 
in life which produce perplexity and disaster, 
and in this series of masterpieces we have his 
most magnificent achievement. His power of 
perfect adaptation of language to thought and 
feeling had now reached its height, and his verse 
had become thoroughly flexible without having 
lost strength. 

In the fourth period Shakspere returned to 
comedy. These plays, written during his last 
years in London, are again romantic in subject 
and treatment, and technically seem to show 
the influence of the earlier successes of Beau- 
mont and Fletcher. But in place of the high 
spirits which characterized the comedies of the 
earlier periods we have a placid optimism, and 
a recurrence of situations which are more in- 
genious than plausible. The plots are marked 



30 TXTEOCUCTIOX 

by reunions and reconciliations and close in 
moods of repentance and forgiveness. The verse 
is singularly sweet and highly poetical ; and the 
departure from the end-stopped line has now 
gone so far that we see clearly the beginnings of 
that tendency which went to such an extreme 
in some of Shakspere's successors that it at 
times became hard to distinguish the meter at all. 

In Two Noble Kinsmen and Henry VIIL, 
Shakspere again worked in. partnership, the 
collaborator being, in all probability, John 
FJetcher. 

Nothing that we know of Shakspere 's life from 
external sources justifies us in saying, as has 
frequently been said, that the changes of mood 
in his work from period to period corresponded 
to changes in the man Shakspere. As an artist 
he certainly seems to have viewed life now in 
this light, now in that ; but it is worth noting 
that the period of his gloomiest plays coincides 
with the period of his greatest worldly pros- 
perity. It has already been hinted, too, that much. 
of his change of manner and subject was dic- 
tated by the variations of theatrical fashion and 
the example of successful contemporaries. 

Throughout nearly the whole of these mar- 

velously fertile years Shakspere seems to have 

stayed in London; but from 1610 

laSYea'rsf ^0 1612 he was making Stratford 

more and more his place of abode, 



SHAKSPEEE AND EN'GLISH DEAMA 31 

and at the same time he was beginning to write 
less. After 1611 he wrote only in collaboration; 
and having spent about live years in peaceful 
retirement in the town from which he had set 
out a penniless youth, and to which he returned 
a man of reputation and fortune, he died on 
April 23, 1616. His only son, Hamnet, had 
died in boyhood; of his immediate family there 
survived him his wife and his two daughters, 
Susanna and Judith, both of whom were well 
married. He lies buried in the parish church 
of Stratford. 



32 INTEODUCTION 



II. THE TEMPEST. 

The fact that the Folio of 1623, the first 
collected edition of Shakspere's works, began 
Date with The Tempest led many of the 

earlier critics to infer that the pla}^ 
was composed at the beginning of his career. 
Modern study of his style and versification, how- 
ever, have shown that the opposite is the case. 
The extreme condensation of the language in 
many passages, the freedom and irregularity, 
even carelessness, of the syntax, are sure marks 
of his latest style;- and equally significant are 
the characteristics of the meter — frequent run-on 
lines, speeches ending in the middle of a line, 
feminine, light, and weak endings, and the ab- 
sence of rime in the regular dialogue.^ These 
evidences find corroboration in the fact that in 
writing The Tempest Shakspere made use of 
certain pamphlets descriptive of the wreck on the 
Bermudas of Sir George Somers's expedition to 
Virginia in 1609, two of the narratives being, 
published in the following year. On the other 
hand, the Accounts of the Revels at Court^ show 
that "By the Kings Players: Hallomas nyght, 

1 See page 38 ff. 

^Extracts from the Accounts of the Revels at Court in the 
reigns of Queen Elizabeth and James I, edited by Peter Cun- 
ningham for the Shakespeare Society. 1842. The entry was 
for a time suspected of being a forgery, but is npw credited. 



THE TEMPEST 33 

was presented at Whithall before the Kinges 
Majestie a play called the Tempest," the date 
being November 1, 1611. Thus we have excep- 
tionall}' precise limits for the period within 
which the play must have been written — after 
October, 1610 and before October, 1611. It may 
well be that this was the last play which Shak- 
spere completed, a possibility that throws an in- 
teresting light upon the Epilogue, and indeed 
upon the whole of the last scene, in which 
Prospero, regarded by many as symbolizing the 
author, bids farewell to his art. 

The present text is based on that of the First 
Folio, the only available source. The Tempest 
was not one of the plays issued in 
fheText^ separate quartos before the col- 

lected edition was published. The 
text of the Folio is on the whole good, and few 
of the difficulties of the play can be laid to 
corruptions due to printer or copyist. 

Whence Shakspere derived the story which 
forms the basis of the simple plot of The Tem- 
pest we do not yet knew. Since in 
Source of all but ouc or two cases definite 

the Plot 

sources for his plots have been 
found, the likelihood is that he did not invent 
this one. But the stories brought forward as 
bearing some resemblance to the present play 
can at most be regarded as belonging to the 
same family of tales,, not . as direct ancestors. 



34 INTEODrCTION 

Two of these deserve special mention. One is a 
German play by Jacob Ayrer of Nuremberg, 
whq died in 1605. His Fair Sidea was not 
■ printed till 161-8, so that Shakspere could only 
have known of it by report, such a report as 
might be brought over by the English players 
who visited Nuremberg in 1604 and 1606. In 
both The Fair Sidea and The Tempest we have 
''a prince given to magic, and driven into exile 
with a daughter who marries the son of his 
enemy ; an attendant spirit ; and — most striking 
of all — the imposition of log-carrying upon the 
captive prince, and the fixing of his sword in 
his scabbard." But such a summary of points 
of likeness- gives a false idea of the degree of 
general similarity between the plays. Ariel is 
utterly different from the devil in the German 
play, except that both are supernatural servants ; 
there is nothing irb common in the characteriza- 
tion ; and the whole tone and atmosphere are 
as different as possible. The force of the argu- 
ment from the incident of the sword is weakened 
by the fact that it is a common magician's trick 
in popular tales. It is difficult to believe that 
in Ayrer 's play we have anything more than a 
story some of whose features may go back to an 
old tale from which, at no one knows how many 
removes, The Tempest may be descended. 

Little more can be said for the second analo- 
gous version — a Spanish tale published in 1609 



THE TEMPEST 35 

in a collection known as Winter Nights by An- 
tonio de Eslava. Here the sea, absent from 
Ayrer's scene, plays a large part. A King of 
Bulgaria, who possesses magical powers, being 
driven from his kingdom by the Emperor oL' 
Greece, sails with his daughter into the middle 
of the Adriatic, strikes the water with his wand, 
and descends into a gorgeous palace at the bot- 
tom of the sea. After two years, the Princess 
longs for a fitting mate, so her father brings 
down the disinherited elder son of his enem,y 
and weds him to his daughter in his sea-palace. 
While the marriage is being celebrated, the fleet 
of the younger son of the usurper, w^ho has suc- 
ceeded his father and is returning from his mar- 
riage to the daughter of the Emperor of Rome, is 
smitten by a tempest just over the magic palace. 
The exiled King arises and rebukes the Emperor 
of Greece, who goes home and dies. The dis- 
inherited son is sought and found, and he and 
his bride and father-in-law are restored to their 
rightful honors. Here again we have clearly 
only a remote relative of the theme of The 
Tempest. 

" If we cannot point to a direct source for the 
main plot of our play, w^e can show various 
documents that have contributed details. Men- 
tion has already been made of accounts of the 
Virginian expedition of Sir George Somers. This 
gentleman, along with Sir Thomas Gates and 



36 ' INTEODUCTION 

Captain Christopher Newport, sailed from Ply- 
mouth on June 2, 1609, with a fleet of nine 
vessels, carrying settlers and supplies to Vir- 
ginia. In the end of July the fleet was scattered 
by a storm, and the Sea Venture, in which 
the three commanders sailed, was cast up on 
one of the Bermudas, where the crew and pas- 
sengers lived for nine or ten months. By May 
of 1610 they had built two small vessels in which 
they reached their destination. In October of 
the same year, Silvester Jourdan, who had also 
been in the Sea Venture, published a pamphlet 
called, A Discovery of the Bermudas, otherwise 
called the Isle of Divels; and a fellow passenger, 
William Strachey, wrote A true report ory of the 
wrache, dsX^di July 15, 1610, which was finally 
printed by Purchas in 1625, but which may have 
circulated in manuscript. A third document was 
compiled, A True Declaration of the Estate 
of the Colonic in Virginia, and was published 
late in 1610. These pamphlets, and perhaps, as 
Mr. Kipling has suggested,^ talks with some of 
the returned sailors, provided Shakspere with 
both incidents and phrases which he used in 
picturing the storm with which the play opens 
and the enchanted island on which the rest of 
the action takes place. Some of the proper 
names show traces of reading in other books 



1 See London Spectator. July 2. 1898. for an interesting 
speculation on Shakspere' s method of getting local color. 



THE TEMPEST 37 

dealing with travel in the New World, such as 
Raleigh's Discovery of Guiana and Eden's His- 
tory of Travaile. 

Other passages show the influence of the 
dramatist's miscellaneous reading. The speech 
beginning "Ye elves of hills, brooks, standing 
lakes, and groves," (Y. i. 33-50), follows closely 
Golding's Translation of Ovid's Metamorphoses, 
Vll, 192*219; and in Gonzalo's account of his 
ideal state in II. i. 150-167 are traces of Florio's 
translation of Montaigne's ''Of the Caniballes,'^ 
published in the Essays in 1603. Such names 
and titles as those of Alonso, King of Naples, 
and his son Ferdinand, and of Prospero, Duke of 
Milan, along with incidents of banishment and 
usurpation he might have gathered from such 
a work as Thomas's History e of Italie (1549). 
It is with mere fragments and analogies like 
these that we have to be content in our search 
for the source of The Tempest. There seems 
little hope of reaching the fairly precise and 
complete account which can often be given of 
the sources of Shakspere's material. 

It is, indeed, possible that the reason why a 
definite source may never be found is that there 
was no definite source. The plot is a very simple 
one, and its elements are such commonplaces of 
popular tales of enchanters and princesses as 
Shakspere may well enough have put together 
unaided. Certain it is that the invention of a 



38 INTEODUCTION 

plot like this involves no such exercise of imag- 
ination as is shown in the parts of the play 
which are undoubtedly Shakspere's own, — the 
creation of the characters, the conception of the 
prevailing atmosphere, and the superabundant 
poetry of the lines. No play gives more con- 
vincing proof of Shakspere 's easy mastery of his 
craft at the close of his career. 

The Tempest is written mainly in blank verse, 

which, since Marlowe, had been the standard 

meter of the English Drama. 

Meter. . ^ 

Prose occurs m the talk of the mar- 
iners in the storm (I. i.), in the scene in which 
Antonio, Sebastian, and the courtiers make fun 
of Gonzalo (II. i.), and in the scenes between 
Stephano and Trinculo (II. ii. III. ii, IV. i.). 
This is in accordance with Shakspere's practice 
of using prose for realistic scenes, especially with 
characters of humbler social station, for repar- 
tee, and for low comedy. In the masque in 
the fourth act, the speeches of the mythological 
characters are in rimed couplets, a frequent de- 
'vice of Shakspere's to separate imaginative or 
artificial passages from the more lifelike dialogue 
of the main action. A similar use of rime may 
be noted in the play within the play in Hamlet. 
Rime is also used in the songs and in the Epi- 
logue. 

The normal type of the blank verse line has 
iive iambic feet, that is, ten sjdlables with the 



THE TEMPEST 39 

verse accent falling on the even syllables. From 
this regular form, however, Shakspere deviates 
with great freedom, among the commonest vari- 
ations being the following: 

1. The addition of an eleventh syllable, e.g., 

If by I your art |, my dear jest fa|ther, you j have 
Put the I wild wajters in | this roar, ! allay ] ihcm. 

I. ii. 1, 2. 
Sit still I, and hear ] the last | of our | sea-sor roic, 

I. ii. 170. 
The dit|ty does | rememlber my | drown 'd i-a'iher, 

I. ii. 405. • 
Be not I afeard. j The isle j is full | of noi[6€'.s. 
Sounds and | sweet airs, | that give ] delight \ and liurt j 

not, III. ii. 149, 150. 

This is also known as the feminine ending, 
and it is especially common in The Tempest and 
other plays of Shakspere 's last period. Occa- 
sionally the extra syllable occurs in the middle 
of the line, at the main pause known as the 
caesura, e.g., 

And my j dear fa|t7ier. [| How feajtures are ' abroadj, 
III. i. 52. 

With all I the hojnours on | my broj^7«er; I' whereon|, 

I. ii. 127. 
That now j lies foul | and mudJcZ^. '| Not one j of 

them I, V. i. 82. 

The extra syllable may be found both at the 
caesura and at the end of the same line, e.g., 

Obey ' and be { attenjfire. [jCanst thon > rememj&er, 
I. ii. 38. 



40 INTEODUCTION 

2. Frequently what seems an extra syllable 
is to be slurred in reading. Thus ''Prospero" 
is dissyllabic in such lines as the following: 

And Prosjpero the | prime duke, | being so | repiijted, 
I. ii. 72. 

in which ''being" also may be slurred, or may 
be treated as two light syllables. Compare also 
these lines : 

But tliat I the sea, | mounting [ to the wel] kin's cheek, 

I. ii. 4. 
Out of ] his (s\\?i\rity, who \' ~being then | appointed, 

I. ii. 162. 

3. Sometimes an emphatic syllable, or one 
accompanied by a pause, stands alone as a foot, 
without an unaccented sjdlable, e.g., 

Say j again, where didst thou leave these varlets? IV. i. 

170. 
Good 1 my lord, give me thy favour still, IV. i. 204, 

and perhaps. 

Twelve 1 year since, Miranda, twelve year since, I. ii. 53. 
Make the prize light. | One | word more; I charge thee, 
I. ii. 452. 

4. Short lines, lacking one or more feet, occur, 
especially at the beginning or end of a speech, 
e.g., 

By Providence divine, I. ii. 159. (Beginning) 

To every article, I. ii. 195. (Beginning) 

Bound sadly home for Naples, I. ii. 235. (Middle) 



THE TEMPEST 41 

Upon thy wicked dam, come forth! I. ii. 320. (End) 
No, it begins again, I. ii. 395. (End) 

5. Long lines of twelve or thirteen syllables 
occur, e.g., 

Pi'ofesjses to | persuade | the King | his son's | alive |, 

II. i. 240. 

Which since | have stead|ed much; | so, of j his gen- | 
tleness |, I. ii. 165. 

These may be regarded as alexandrines, i.e., 
lines of six iambic feet ; but sometimes the extra 
syllables are due to the occurrence of trisyllabic 
feet, like the anapests, i. e., feet with two unac- 
cented syllables before the accent, in the fol- 
lowing: 

Go make j thyself | liJce a nymph \ o' iJie sea; \ be sub- f 
ject, I. ii. 301. 

6. Frequently, especially in the first foot, a 
trochee is substituted for an iambus, i.e., the ac- 
cent falls on the odd instead of on the even 
syllable, e.g.. 

Weeping ] again the King my father's wreck, T. ii. 390. 
Sounds and | sweet airs, that give delight and hurt not, 

III. ii. 150. 

In the following, the trochee occurs after the 
caesura : 

But that the sea, || mounting \ to the welkin's cheek, 

I. ii. 4. 
By accident most strange, || 'b6unii\tul Fortune, I. ii 

178. 



42 IXTEODUCTION 

It must be remembered, however, that the pro- 
nunciation of many words has changed since 
Shakspere's time. Examples are "revenue" in 
I. ii. 98: "opportune" in IV. i. 26; "aches," 
pronounced "aitches," in I. ii. 370; "support- 
able, " V. i. 145 ; ' ' solemnized, " V. i. 309. Espe- 
cially characteristic are the dissyllabic end- 
ings in "presci-ence", I. ii. 180; "nupti-al," V. 
i. 308; "passi-on," IV. i. 143. 

Although differences between the language o£ 

Shakspere and that of our own day are obvious 

to the most casual reader, there is 

Langnaage. 

a risk that the student may under- 
estimate the extent of these differences, and, 
assuming that similarity of form implies identity ' 
of meaning, miss the true interpretation. The 
most important instances of change of meaning 
are explained in the notes; but a clearer view 
of the nature and extent of the contrast between 
the idiom of The Tempest and that of modern 
English will be gained by a classification of the 
most frequent features of this contrast. Some 
of the Shaksperean usages are merely results of 
the carelessness and freedom which the more 
elastic standards of the Elizabethan time per- 
mitted; others are forms of expression at that 
date quite accurate, but now become obsolete. 

1. Nouns, (a) Shakspere frequently uses an 
abstract noun with "of" where modern Englisii 
has an adjective; e.g., in I. ii. 210, "tricks of 



THE TEMPEST 43 

desperation "= desperate tricks; in III. iii. 53, 
' ' men of sin ' '= sinful men. Converseh^ in V. i. 
81, * ' reasonable shore ' '= shore of reason. 

(b) Abstract nouns are often used in the 
plural; e.g., 

Your swords are now too massy for your strengihs, III. 

iii. 67. 
Whose wraths to guard you from, III. iii. 79. 

(c) The plural ending is sometimes omitted 
in nouns ending in a sibilant; e.g., "princess" 
for princesses in I. ii. 173, "place" for places in 
I. ii. 338. In other cases the "s" is written' but 
not sounded, as in 

Let us not burden our remembrances with, V. i. 199. 

2. Adjectives, {a) Double comparatives and 
superlatives occur; e. g., "more better," I. ii. 19 ; 
"more braver," I. ii. 439; "worser," lY. i. 27. 

(5) Adjectives are used as nouns, as in "Nay, 
good, be patient," I. i. 17; "That vast of night," 
I. ii. 327. 

3. Pronouns, (a) The nominative is some- 
times used for the objective; e.g.. 

Who I have left asleep, I. ii. 231, 232. 

Who to advance, I. ii. 80. 

Who once again I tender to thy hand, I\. i. -i,- 5. 

Of he or Adrian, II. i. 28. 

{!)) The neuter possessive is usually "his," 
rarely "its;" e.g., 



44 INTEODUCTION 

I will rend an oak 
And peg thee in Ms knotty entrails, I. ii. 294, 295. 
A foul bombard that would shed Ms liquor, II. ii. 21-22. 

Occasionally ''it" occurs as a possessive; e.g., 
''of it own kind/' II. i. 166. 

(c) The modern usage as to personal and re- 
flexive pronouns is often reversed ; eg., " How I 
may bear me," I. ii. 425, "Myself am Naples," 
I. ii. 434: "I will disease me," V. i. 85. 

(d) The objective case of the personal pro- 
nouns is at times used where modern English 
requires no object; e.g., "I needs must rest me," 
III. iii. 4. 

(e) The ethical dative is commoner than in 
modern speech; e.g., 

Which is not yet perform 'd me, I. ii. 244. 

To do me business in the veins o' the earth, I. ii. 255. 

(/) The modern distinctions among the rela- 
tive pronouns, tvho, which, that, as, is not ob- 
served by Shakspere; e.g., 

A brave vessel 
Who had, I. ii. 6, 7. 

I am all the subjects that you have, 
WMch first was mine own king, I ii, 341, 342. 
This gallant wMch thou seest, I. ii. 413. 
Grief, that's beauty's canker, I. ii. 415 (non-restrictive). 

The elements. 
Of luhom your swords are temper 'd, III. iii. 61, 62. 

(g) The relative pronoun is oftener omitted 
than now, especially after there is, there are; e.g., 



THE TEMPEST 45 

There's nothing ill can d\vell in such a temple, I. ii. 457. 
There be seme sports are painful, III. i. 1. 

(/i) The possessive pronoun is sometimes used 
for the possessive adjective when the noun does 
not follow immediately; e.g., 

Tour^ and my discharge, II. i. 258. 

And his and mine lov'd darling, III. iii. 93. 

4. Verbs, {a) A singular verb is often found 
Avith a plural subject or with two or more sub- 
jects; e.g., 

What cares these roarers, I. i. 18, 19, 
Lies at my mercy all mine enemies, IV. i. 265. 
How fares the King and's followers? V. i. 7. 
All torment, trouble, wonder, and amazement 
Inhabits here, V. i. 104, 105. 

{])) Plural verbs occur with singular subjects, 
through the attraction of a neighboring plural; 
e.g., 

Of his bones are coral made, I. ii. 397. 

(c) The ''n" is frequently dropped from th& 
ending of the past participle of strong verbs in 
cases where it is retained at the present day ; e.g., 
' ' broke, ' ' III. i. 37 ; ^ ' spoke, ' ' IV. i. 31 ; and V. i. 
201. Cf. also ^4iolp," I. ii. 63, for "holpen,"- 
now- weak, ' ' helped. ' ' 

(d) ''Be" is sometimes used for "are;" e.g.. 

There he that can rule Naples, II. i. 266. 
There he some sports are painful, III. i 1. 
These he brave spirits, V. i. 261. 



46 INTKODUCTTON 

(e) Verbs of motion are often omitted; e.g., 

And away with the rest, IV. i. 247. 

To the King's shij), invisible as thou art; V. i. 97. 

(/) "To" is sometimes used with the infinitive 
where it is omitted in modern English ; e.g., 

And would no more endure 
This wooden slavery than to suffer, II. i. 61, 62. 

Conversely, ''to" is at times omitted where 
mod^rn usage requires it ; e.g., 

To suffer 
The flesh-fly blow my mouth, TIF. i. 62, 63. 
Will't please you taste, Til. iii. 42. 

{g) The infinitive with ''to" is sometimes used 
for the gerund with another preposition ; e.g.. 

What do you mean 
To doat (=by doating) thus on such luggage? IV. i. 

230, 231. 
I have broke y.our hest io say (= by saying) so! III. i. 

37. 

(h) Some verbs now only intransitive are at 
times used transitively; e.g., 

Mine eyes, even sociable to the shew of thine, 
Fall fellowdy drops. V. i. 63, 64. 
ILearlcens my brother's suit, I. ii. 122. 

Cf. the converse in III. iii. 57, "Where man 
doth not inhabit. ' ' 

5. Adverbs, {a) Double negatives are used 
with a merely intensive force; e.g., "Nor go 



THE TEMPEST 47 

neither," III. ii. 23; "nor liath not One spirit," 
HI. ii. 105, 106; ''they Will not, nor cannot," 
III. iii. 15, 16. 

(h) The form of the adjective is often used 
for the adverb ; e.g., 

With foreheads villanous low, IV. i. 2.j0. 

You have spokeu truer than you purposM. II. i. 19, '20 

(c) Adverbs are sometimes used where modern 
usage requires an adjective ; e.g., 

Safely in harbour 
Is the King's ship, J. ii. 226, 227. 
You look 'Wearily, III. i. 32. 

6. Prepositions, (a) The usage in prepositions 
Avas less definitely fixed than it is today. Thus 
"out on't"=out of it, I. ii. 87; "cause. .. .ot* 
joy "= cause for joy, II. i. 1, 2 ; "to"=for, in 
"such a paragon to their ([ueen, " II. i. .74, 75; 
^'of"=from, m "thrust forth of Milan," Y. i. 
160. 

(?)) A preposition is occasionally used where 
a modern verb takes a direct object ; e.g., 

Whom I left cooling of the air with sighs, I. ii. 222. 



THE TEMPEST 



DRAMATIS PERSONS 

Alonso, king of Naples. 

Sebastian, his brother. 

Prospero, the right duke of Milan. 

Antonio, his brother, the usurping duke of Milan^ 

Ferdinand, son to the king of Naples. 

GoNZALO, an honest old Counsellor. 

Adrian, ) 

Francisco, \ ^^'"^'- 

Caliban, a savage and deformed Slave. 

Trinculo, a Jester. 

Stephano, a drunken Butler. 

Master of a Ship. 

Boatswain. 

IMariners. 

i\IiRANDA, daughter to Prospero. 

Ariel, an airy Spirit. 

Iris, 

Ceres, 

Juno, r Spirits. 

Nymphs, 

Reapers, 

[Other Spirits attending on Prospero.'J 

■ Scene: [A ship at sea;'] an uninJiaMted island. 



THE TEMPEST 

ACT FIRST 

Scene I 

[On a ship at sea:] a tempestuous noise of 
thunder and lightning heard. 

Enter a Ship-Master and a Boatswain. 

Mast. Boatswain ! 
Boats. Here, master ; what cheer ? 
Mast. Good; speak to the mariners. Fall to't, 
yarely, or we run ourselves aground. Be- 
5 stir, bestir. Exit. 

Enter Mariners. 

Boats. Heigh, my hearts! cheerly, cheerly, my 
hearts! yare, yare ! Take- in the topsail. 
Tend to the master's whistle. — Blow till 
thou burst thy wind, if room enough ! 

Enter Alonso, Sebastian, Antonio, Ferdinand, 
Gonzalo, and others. 

10 Alon. - Good boatswain, have care. Where's the 
master ? Play the men. 
51 



'^2 THE TEMPEST [ActI, Sc.i 

Boats. I pray now, keep below. 

Ant. Where is the master, boatswain? 

Boats. Do you not hear him? Yon mar onr 
labour. Keep your cabins ; you do assist the is 
storm. 

Gon. Nay, good, be patient. 

Boats. When the sea is. Hence ! What cares 
these roarers for the name of king"? To 
cabin ! silence ! trouble us not. 20 

Gon. Good, yet remember whom thou hast 
aboard. 

Boats. None that I more love than myself. You 
are a counsellor; if you can command these 
elements to silence, and work the peace of 25 
the present, we will not hand a rope more ; 
use your authority. If you cannot, give 
thanks you have liv'd so long, and make 
yourself ready in your cabin for the mis- 
chance of the hour, if it so hap. — Cheerly, 30 
good hearts ! — Out of our way, I say. Exit. 

Gon. I have great comfort from this fellow. 
Methinks he hath no drowning mark upon 
him ; his complexion is perfect gallows. 
Stand fast, good Fate, to his hanging; make 35 
the rope of his destiny our cable, for our 
own doth little advantage. If he be not 
born to be hang'd, our case is miserable. 

Exeicnt. 



ACT I, Sc. i] THE TEMPEST 53 

Re-enter Boatswain. 

Boats. Down with the topmast! yare! lower, 

40 lower I Bring her to try wi' the main-course. 

A plague {A cry within.) 

Enter Sebastian, Antonio, and Gonzalo. 

-upon this howling! They are louder than 
the weather or our office. — Yet again ! What 
do you here ? Shall wx give o 'er and drown ? 
45 Have you a mind to sink? 

Seh. A pox o' your throat, you bawling, blas- 
phemous, incharitable dog! 

Boats. "Work you, then. 

Ant. Hang, cur! hang, you insolent noise- 
so maker! We are less afraid to be drown 'd 
than thou art. 

Gon. I'll warrant him for drowning though 
the ship were no stronger than a nut-shell. 

Boats. Lay her a-hold, a-hold! Set her two 
55 courses off to sea again ! Lay her off. 



Enter Mariners wet. 

Mariners. All lost ! To prayers, to prayers ! 

All lost ! 
Boats. What, must our mouths be cold? 



54 THE TEMPEST [ActI, Sc.i 

Gon. The King and Prince at prayers ! Let 's 
assist them, 
For our case is as theirs. 

Seh. I'm out of patience. eo 

Ant. "We are merely cheated of our lives by 
drunkards. 
This wide-chapp'd rascal — would thou 

mightst lie drowning 
The washing of ten tides! 

Gfon. He'll be hang'd yet, 

Though every drop of water swear against 

it 
And gape at wid'st to glut him. g5 

A confused noise wilhin. 
Mercy on us! 
We split, we split ! Farewell, my wife and , 

children ! 
Farewell, brother ! We split, we split, we 

split ! 

Ant. Let's all sink wi' the King. 

Seh. Let's take leave of him. Exit, lo 

Gon. Now would I give a thousand furlongs of 
sea for an acre of barren ground, long 
heath, brown furze, anything. The wills 
above be done ! but I would fain die a dry 
death. Exeunt. 75 



Act I, Sc. ii] THE TEMPEST 55 

Scene II 

[The island. Before Prosperous cell.'] 

Enter Prospero anel Miranda. 

Mir. If by your art, my dearest father, you 

have 
Put the wild waters in this roar, allay them. 
The sky, it seems, would pour down stinking 

pitch, 
But that the sea, mounting to the welkin's 

cheek, 
5 Dashes the fire out. 0, I have suffered 

With those that I saw suffer ! A brave 

vessel, 
Who had, no doubt, some noble creature in 

her, 
Dash'd all to pieces I 0, the cry did knock 
Against my very heart. Poor souls, they 

perish 'd. 
10 Had I been any god of power, I would 

Have sunk the sea within the earth or ere 
It should the good ship so have swallow 'd 

and 
The fraughting souls within her. 
Pros. Be collected; 

No more amazement. Tell your piteous 

heart 
There's no harm done. 
Mir. 0, woe the day ! 



56 THE TEMPEST " [Act I, Sc. ii 

Pros. No harm. i5 

I have done nothing but in care of thee, 
Of thee, my dear one, thee, my daughter, 

who 
Art ignorant of what thou art, nought 

knowing 
Of whence I am, nor that I am more better 
Than Prospero, master of a full poor cell, 20 
And thy no greater father. 
Mir. More to know 

Did never meddle with my thoughts. 
Fros. ^Tis time 

I should inform thee farther. Lend thy 

hand. 
And pluck my magic garment from me. So, 
[Lays down Ms mantle.^ 
Lie there, my art. "Wipe thou thine eyes; 

have comfort. 25 

The direful spectacle of the wreck, which 

touch 'd 
The very virtue of compassion in thee, 
I have with such provision in mine art 
So safely ordered that there is no soul — 
No, not so much perdition as an hair 80 

Betid to any creature in the vessel 
Which thou heard 'st cry, which thou saw'st 

sink. Sit down; 
For thou must now know farther. 
Mir. You have often 

Begun to tell me what I am, but stopp'd 



ACTI, Sc.ii] THE TEMPEST 57 

35 And left me to a bootless inquisition, 

Concluding, "Stay, not yet." 
I'rus. The hour's now come ; 

The very minute bids thee ope thine ear. 
Obey and be attentive. Canst thou remem- 
ber 
A time before we came unto this cell? 
40 I do not think thou canst, for then thou 

wast not 
Out three years old. 
xl//r. Certainly, sir, I can. 

Pros. J^Y what ? By any other house or person ? 
Of anything the image tell me, that 
Hath kept with thy remembrance. 
Mir. ^ 'Tis far off 

45 And rather like a dream than an assurance 

That my remembrance warrants. Had I not 
Four or five women once that tended me ? 
• Pros. Thou hadst, and more, Miranda. But how 
is it 
That this lives in thy mind? What seest 
thou else 
50 In the dark backward and abysm of time? 

If thou rememb'rest aught ere thou cam'st 

here. 
How thou cam'st here thou may'st. 
Mir. But that I do not. 

Pros. Twelve year since, ^Miranda, twelve year 
since, 
Thy father was the Duke of :Milan and 



58 THE TEMPEST [Act I, Sc. ii 

A prince of power. 
Mir. Sir, are not you my father ? 55 

Pros. Thy mother was a piece of virtue, and 
She said thou wast my daughter ; and thy 

father 
"Was Duke of Milan, and his only heir 
And princess no worse issued. 
Mir. the heavens! 

What foul play had we, that we came from 

thence? . .eo 

Or blessed was 't we did ? 
Pros. Both, both, my girl. 

By foul play, as thou saj^ 'st, were we heav 'd 

thence. 
But blessedly holp hither. 
Mir. 0, my heart bleeds 

To think 0' the teen that I have turn'd you 

to, _ 
Which is from my remembrance ! Please' 
you, farther. "66 

Pros. My brother and thy uncle, call'd An- 
tonio — 
I pray thee, mark me — that a brother should 
Be so perfidious ! — he whom next thyself 
Of all the world I lov'd, and to him put 
The manage of my state; as at that time to 
Through all the signories it w^as the first, 
And Prospero the prime duke, being so re- 
puted 
In dignity, and for the liberal arts 



Act I, Sc. ii] THE TEMPEST 59 

Without a parallel; those being all my 
study, 
75 The government I cast upon my brother 

And to my state grew stranger, being trans- 
ported 
And rapt in secret studies. Thy false 

uncle — 
Dost thou attend me? 
^lir. Sir, most heedfuUy. 

Pros. Being once perfected how to grant suits, 
80 How to deny them, who to advance and who 

To trash for overtopping, new created 
The creatures that were mine, I say, or 

chang'd 'em, 
Or else new form'd 'em ; having both the key 
Of officer and office, set all hearts i ' the state 
85 To what tune pleas 'd his ear; that now he 

was 
The ivy which had hid ni}^ princely trunk, 
And suck'd my verdure out on't. Thou 
attend 'st not. 
Mir. 0, good sir, I do. 

Pros. I pray thee, mark me. 

I. thus neglecting worldly ends, all dedi- 
cated 
90 To closeness and the bettering of my mind 

With that which, but by being so retir'd, 
O'er-priz'd all popular rate, in my false 

brother 
Awak'd an evil nature; and my trust. 



60 THE TEMPEST [Act I, Sc. ii 

Like a good parent, did beget of liim 

A falsehood, in its contrary as great ss 

As my trust was; which had indeed no 

limit, 
A confidence sans bound. He being thus 

lorded, 
Not only with what my revenue yielded, 
But what my power might else exact, — like 

one 
Who having into truth, by telling of it, loo 
Made such a sinner of his memory 
To credit his own lie, — he did believe 
He was indeed the Duke. Out o' the sub- 
stitution, 
And executing the outward face of royalty, 
"With all prerogative, hence his ambition 

growing — 105 

Dost thou hear? 
Mir. Your tale, sir, would cure deafness. 

Pros. To have no screen between this part he 

play 'd 
And him he play'd it for, he needs will be 
Absolute Milan. Me, poor man! — my 

library 
Was dukedom large enough — of temporal 

royalties 110 

He thinks me now incapable ; confederates — • 
So dry he was for sway — wi' the King of 

Naples 
To give him annual tribute, do him homage, 



ACTI, Sc. ii] THE TEMPEST 61 

Subject his coronet to his crown, and bend 
The dukedom yet unbow'd — alas, poor 
115 Milan ! — 

To most ignoble stooping. 
Mir. the heavens ! 

Pros. Mark his condition and the event, then 
tell me 
If this might be a brother. 
Mir. I should sin 

To think but nobly of my grandmother. 
Good v^ombs have borne bad sons. 
120 Pros. Now the jCondition. 

This King of Naples, being an enemy 
To me inveterate, hearkens my brother's 

suit ; 
Which was, that he, in lieu o* the premises. 
Of homage and I know not how much trib- 
ute, 
125 Should presently extirpate me and mine 

Out of the dukedom, and confer fair Milan 
With all the honours on my brother ; where- 
on, 
A treacherous army levied, one midnight 
Fated to the purpose did Antonio open 
The gates of Milan; and, i* the dead of 
130 darkness. 

The ministers for the purpose hurried 

thence 
Me and thy crying self. 
Mir. • Alack, for pity ! 



62 THE TEMPEST [Act I, Sc. ii 

I, not rememb 'ring how I cried out then, 
Will cry it o'er again. It is a hint 
That wrings mine eyes to't. 

Pros. Hear l little further, 135 

And then I '11 bring thee to the present busi- 
ness 
Which now 's upon 's, without the which this 

story 
Were most impertinent. 

Mir. Wherefore did they not 

That hour destroy us ? 

Pros. Well demanded, wench ; 

My tale provokes that question. Dear, they 

durst not i40 

(So dear the love my people bore me) set 
A mark so bloody on the business ; but 
With colours fairer painted their foul ends. 
In few, they hurried us aboard a bark. 
Bore us some leagues to sea; where they 

prepared 145 

A rotten carcass of a butt, not rigg'd. 
Nor tackle, sail, nor mast ; the very rats 
Instinctively have quit it. There they hoist 

us, 
To cry to the sea that roar'd to us. to sigh 
To the winds whose pity, sighing back 

again, • 150 

Did us but loving wrong. 

Mir. Alack, what trouble 

Was I then to you! • 



Act i, tSe. ii] 'lliZ TL^iPZoT 63 

Pros. 0, a clierubin 

Thou wast that did preserve me. Thou 

didst smile, 
Infused with a fortitude from heaven, 
AVhen I have deck'd the sea with drops full 
155 salt, 

Under my burden groan 'd; which rais'd in 

me 
An undergoing stomach, to bear up 
. Against what should ensue. 
Mir. How came we ashore? 

Pros. By Providence divine. 

Some food we had and some fresh water 
160 that 

A noble Neapolitan, Gonzalo, 
Out of his charity, who being then ap- 
pointed 
]\Iaster of this design, did give us, with 
Ri,ch garments, linens, stuffs, and neces- 
saries, 
AVhieh since. have steaded much; so, of his 
165 gentleness. 

Knowing I lov'd my books, he furnish 'd me 
From mine own library with volumes that 
I prize above my dukedom. 
Mir. Would I might 

But ever see that man! 
Pros. Now I arise. 

[Puts on his rohe.l 
170 Sit still, and hear the last of our sea-sorrow. 



64 THE TEMPEST [Act I, Sc. ii 

Here in this island we arriv'd; and here 
Have I, thy schoolmaster, made thee more 

profit 
Than other princess can that have more 

time 
For vainer hours, and tutors not so careful. 
Mir. Heavens thank you for 't ! And now, I 

pray you, sir, i75 

For still 'tis beating in my mind, your rea- 
son 
For raising this sea-storm ? 
Pros. Know thus far forth. 

By accident most strange, bountiful For- 
tune, 
Now my dear lady, hath mine enemies 
Brought to this shore ; and by my prescience iso 
I find my zenith doth depend upon 
A most auspicious star, whose influence 
If now I court not but omit, my fortunes 
Will 6ver after droop. Here cease more * 

questions. 
Thou art inclin 'd to sleep ; 'tis a good dul- 

ness, 185 

And give it way. I know thou canst not 
choose. [Miranda sleeps.l 

Come away, servant, come ; I am ready now. 
Approach, my Ariel; come. 
Enter Ariel. 
Ari. All hail, great master! grave sir, hail! I 
come 



Act I, Sc. ii] THE TEMPEST 65 

190 To answer thy best pleasure, be't to fly, 

To swim, to dive into the fire, to ride 
On the ciirl'd clouds. To thy strong bid- 
ding task 
Ariel and all his quality. 

Tros. Hast thou, spirit, 

Perform 'd to point the tempest that I bade 
thee? 

195 Ari. To every article. 

I boarded the king 's ship ; now on the beak. 
Now in the waist, the deck, in every cabin, 
I flam'd amazement. Sometime I'd divide. 
And burn in many places. On the topmast. 
The yards and bowsprit, would I flame dis- 
200 tinctly. 

Then meet and join. Jove's lightnings, the 

precursors 
0' the dreadful thimder-claps, more mo- 
mentary 
And sight-outrunning were not ; the fire 

and cracks 
Of sulphurous roaring the most mighty 

Neptune 
Seem to besiege, and make his bold waves 
205 tremble. 

Yea, his dread trident shake. 

Fros. ■ My brave spirit ! 

Who w^as so firm, so constant, that this coil 
Would not infect his reason ? 



66 THE TEMPEST [Act I, Sc. ii 

Ari. Not a soul 

But felt a fever of the mad, and play 'd 
Some tricks of desperation. All but mari- 
ners 210 
Plung'd in the foaming brine and quit the 

vessel, 
Then all afire with me. The King's sIdu, 

Ferdinand, 
With hair up-staring, — then like reeds, not 

hair, — 
Was the first man that leap 'd ; cried, ' ' Hell 

is empty, 
And all the devils are here." 
Pros. Why, that 's my spirit I 215 

But was not this nigh shore? 

Ari. Close by, my master. 

Pros. But are they, Ariel, sa f e 1 

Ari. Not a hair perish 'd; 

On their sustaining garments not a blemish, 

But fresher than before ; and, as thou bad'st 

me. 
In troops I have dispersed them 'bout the 

isle. 220 

The King's son have I landed by himself, 
Whom I left cooling of the air with sighs 
In an odd angle of the isle, and sitting. 
His arms in this sad knot. 
Pros. Of the King's ship. 

The mariners say how thou hast dispos'd, 225 
And all the rest 0' the fleet. 



AcTl,8c. iij THE TEMPEST 67 

^^'"^'- Safely in harbour 

Is the King's ship; in the deep nook, where 

once 
Thou cairdst me up at midnight to fetch 

dew 
From the still-vex 'd Bermoothes, there she's 
hid; 
• The mariners all under hatches stow'd. 

Who, with a charm join'd to their suff'red 

labour, 
I have left asleep; and for^ the rest o' the 

fleet, 
Which I dispersed, they all have met again, 
And are upon the IMediterranean float, 
Bound sadly home for Naples, 
Supposing that they saw the King's ship 

wreck 'd 
And his great person perish. 
Pros. Ariel, thy charge 

Exactly is perform 'd; but there's more 

work. 
What is the time o' the day? 
A)'i. Past the mid season. 

Pros. At least tw^o glasses. The time 'twixt six 
240 and now 

^Must by us both be spent most preciously. 
Ari. Is there more toil? Since thou dost give 
me pains, 
Let me remember thee what thou hast prom- 
is 'd, 



68 THE TEMPEST [Act I, Sc. il 

Which is not yet perform 'd me. 
Fros. How now? moody? 

What is't thou canst demand? « 

Ari. My liberty. 245 

Pros. Before the time be out ? No more ! 
Ari. ' I prithee, 

Remember I have done thee worthy service, 
Told thee no lies, made thee no mistakings, 

serv 'd 
Without or grudge or grumblings. Thou 

did promise 
To bate me a full year. 
Pros. Dost thou forget 250 

From what a torment I did free thee ? 
Ari. ^ No. 

Pros. Thou dost, and think 'st it much to tread 
the ooze 
Of the salt deep, 

To run upon the sharp wind of the north, 
To do me business in the veins ' the earth 255 
When it is bak'd with frost. 
Ari. I do not, sir. 

Pros. Thou liest, malignant thing! Hast thou 
forgot 
The foul witch Sycorax, who with age and 

envy 
Was grown into a hoop ? Hast thou forgot 
her ? 
Ari. No, sir. 



Act I, Sc. ii] THE TEMPEST 69 

Pros. Thou hast. Where was she born f Speak ; 
260 tell me. 

Ari. Sir, in Argier. 
Pros. 0, was she so? I must 

Once in a month recount what thou hast 

been, 
Which thou forget 'st. This damn'd witch 

Sycorax, 
For mischiefs manifold and sorceries ter- 
rible 
265 To enter human hearing, from Argier. 

Thou know'st, was banish 'd; for one thing 

she did 
They would not take her life. Is not this 
true? 
Ari. Ay, sir. 

Pros. This blue-ey'd hag was hither brought 
with child, 
270 And here was left by the sailors. Thou, 

my slave. 
As thou report 'st thyself, was then her ser* - 

ant; 
And, for thou wast a spirit too delicate 
To act her earthy and abhorr'd commands, 
Eefusing her grand bests, she did confine 
thee, 
275 By help of her more potent ministers 

And in her most unmitigable rage, 
Into a cloven pine ; within which rift 
Imprison 'd thou didst painfully remain 



70 THE TEMPEST [Act I, Sc. ii 

A dozen years ; within which space she died 
And left thee there, where thou didst vent 

thy groans 
As fast as mill-wheels strike. Then was this 

island— 280 

Save for the son that she did litter here, 
« A freckl'd whelp, hag-born, — not honour 'd 

with 
A human shape. 

Ari. , Yes, Caliban, her son. 

Pros. Dull thing, I say so; he, that Caliban 285 
Whom now I keep in service. Thou best 

know 'st 
What torment I did find thee in ; thy groans 
Did make wolves howl, and penetrate the 

breasts 
Qf ever angry bears. It was a torment 
To lay upon the damn'd, which Sycorax 290 
Could not again undo. It was mine art. 
When I arriv'd and heard thee, that made 

gape 
The pine, and let thee out. 

Ari. I thank thee, master. 

Pros. If thou more murmur 'st, I will rend an 
oak 
And peg thee in his knotty entrails till 295 

Thou hast howl'd away twelve winters. 

Ain. Pardon, master; 



AcTi, Sc. ii] . THE TEMPEST 71 

I will be correspondent to command 
And do ni}^ spiriting gently. 
Pros. Do so, and after two days 

I will discharge thee. 
Ari. That's my noble master! 

300 What shall I do? say what. What shall I 

do? 
Pros. Go make thyself like a nymph o ' the sea ; 
be subject 
To no sight but thine and mine, invisible 
To every eyeball else. Go take this shape 
And hither come in't. Go, hence with 
diligence ! Exit Ariel. 

305 Awake, dear heart, aw^ake ! Thou hast slept 

well ; 
Awake ! 
Mir. The strangeness of your story put 

Heaviness in me. 
Pros. Shake it off. Come on, 

We'll visit Caliban my slave, who never 
Yields us kind answer. 
Mir. 'Tis a villain, sir, 

310 I do not love to look on. 

Pros. But, as 't is, 

We cannot miss him. He does make our fire, 
Fetch in our wood, and serves in offices 
That profit us. What, ho ! slave ! Caliban ! 
Thou earth, thou! speak. 
Cal. (Within.) There's wood enough within. 



72 THE TEMPEST [Act I, Sc. ii 

Pros. Come forth, I say! there's other business 

for thee. sis 

Come, thou tortoise ! when ? 

Re-enter Ariel like a water-nymph. 

Fine apparition ! My quaint Ariel, 
Hark in thine ear. 
Ari. My lord, it shall be done. 

Exit. 
Pros. Thou poisonous slave, got by the devil 
himself 
Upon thy wicked dam, come forth ! 320 

Enter Caliban. 

Cal. As wicked dew as e'er my mother brush 'd 

With raven's feather from unwholesome fen 

Drop on you both ! A south-west blow on ye 

And blister you all 'er ! 

Pros. For this, be sure, to-night thou shalt have 

cramps, 32.5 

Side-stitches that shall pen thy breath up ; 

urchins 
Shall, for that vast of night that they may 

work, 
All exercise on thee; thou shalt be pinch 'd 
As thick as honeycomb, each pinch more 

stinging 
Than bees that made 'em. 



AcTi, Sc. ii] THE TEMPEST 73 

330 Cal. I must eat my dinner. 

This island's mine, by Sycorax my mother, 
Which thou tak'st from me. When thou 

camest first, 
Thou strok'dst me and made mucii of me, 

wouldst give me 
Water with berries in't, and teach me how 
335 To name the bigger light, and how the less, 

That burn by day and night ; and then I 

I'ov'd thee 
And show'd thee all the qualities o' the isle, 
The fresh springs, brine-pits, barren place 

and fertile. 
Curs 'd be I that did sq ! All the charms 
340 Of Sycorax, toads, beetles, bats, light on 

you ! 
For I am all the subjects that you have. 
Which first was mine own king; and here 

you sty me 
In this hard rock, whiles you do keep from 

me 
The rest o' the island. 
Pros. Thou most lying slave, 

345 Whom stripes may move, not kindness ! I 

have us'd thee. 
Filth as thou art, with human care, and 

lodg'd thee 
In mine own cell, till thou didst seek to 

violate 
The honour of my child. 



74 THE TEMPEST [Act I, Sc. li 

Cal. lio, ho! would 't had been done! 

Thou didst prevent me; I had peopl'd else 35o 
This isle with Calibans. 

Pros. Abhorred slave, 

Which any print of goodness wilt not take, 
Being capable of all ill! I pitied thee, 
Took pains to make thee speak, taught thee 

each hour 
One thing or other. "When thou didst not, 

savage, 355 

Know thine own meaning, but wouldst gab- 
ble like 
A thing most brutish, I endow 'd thy pur- 
poses 
With words that made them known. But 

thy vile race. 
Though thou didst learn, had that in't , 

which good natures 
Could not abide to be with; therefore wast 

thou 360 

Deservedly confined into this rock, 
.^. Who hadst deserv'd more than a prison. 

Cal. You taught me language"; and my profit 

on't 
Is, I know how to curse. The red plague 

rid you 
For learning me your language ! 

Pros. Hag-seed, hence ! 365 

Fetch us in fuel ; and be quick, thou 'rt best. 



ACTI, Sc.ii] THE TEMPEST 75 

To answer other business. Shrug 'st thou, 

malice? 
If thou neglect 'st or dost unwillingly 
What I command, I'll rack thee with old 
cramps, 
370 Fill all thy bones with aches, make thee roar 

That beasts shall tremble ^t thy din. 
Cat. No, pray thee. 

[Aside.] I must obey. His art is of such 

powder 
It would control my dam's god, Setebos, 
•375 And make a vassal of him. 

Pros. So, slave ; hence ! 

Exit Caliban. 

Re-enter Ariel, invisible, playing and singing; 
Ferdinand [following]. 

Ariel ^s Song. 

Come unto these yellow sands, 

And then take hands. 
Curtsied when you have, and kiss'd 
The wild waves whist, 
380 Foot it featly here and there. 

And,' sweet sprites, the burden bear. 
Burden {dispersedly) . Hark, hark! 

Bow-wow. 

The watch-dogs bark! 

Bow-wow. 



76 TjlIE tempest [Act I. Sc. ii 

Ari. Hark, hark! I hear 

The strain of strutting chanticleer sgx 

Cry, ' ' Cock-a-diddle-dow. ' ' 

Fer. Where should this music be? I' the air 
or the earth? 
It sounds no more ; and, sure, it waits upon 
Some god o' the island. Sitting on a bank. 
"Weeping again the King my father's wreck, 390 
This music crept by me upon the waters. 
Allaying both their fury and my passion 
With its sweet air ; thence I have follow 'd it, 
Or it hath drawn me rather. But 'tis gone. 
No, it begins again. 395 

Ariel ^s Song. 

Full fathom five thy father lies; ' 

Of his bones are coral made ; 

Those are pearls that were his eyes : 
Nothing of him that doth fade 

But doth suffer a sea-change 400 

Into something rich and strange. 

Sea-nymphs hourly ring his knell : 

Burden. Ding-dong. 

[Art.] Hark! now I hear them, — ding-dong, bell. 
JFer. The ditty does remember my drovm'd 

father. 405 

This is no mortal business, nor no sound 
That the earth owes. I hear it now above 
me. 



AcTl,Sc. ii] THE TEMPEST 77 

L'ros. The fringed curtains of thine eye advance 

And say what thou seest yond. 

Mir. What is 't? A spirit? 

410 Lord, how it looks about ! Believe me, sir, 

It carries a brave form. But 'tis a spirit. 

Pros. No, wench; it eats and sleeps and hath 

such senses 

As we have, sucli. This gallant which thou 

seest 
Was in the wreck; and, but he's something 
stain 'd 
115 With grief, that's beauty's canker, thou 

mightst call him 
A goodly person. He hath lost his fellows 
And strays about to find 'em. 
Mir. I might call him 

A thing divine ; for nothing natural 
I ever saw so noble. 
Vros. [Aside.] It goes on, I see, 

420 ' As my soul prompts it. Spirit, fine spirit ! 
I'll free thee 
AVithin two days for this. 
Fev. Most sure, the goddess 

On whom these airs attend ! Vouchsafe my 

prayer 
May know if you remain upon this island, 
And that you will some good instruction 
give 
425 How I may bear me here. Aly prime re- 

quest. 



78 THE TEMPEST [Act I, Sc. II 

Which I do last pronounce, is, yoii won- 
' der ! 

If you be maid or no ? 
Mir. No wonder, sir. 

But certainly a maid. 
Fer. iMy language ! heavens ! 

I am the best of them that speak this speech, 
Were I but where 'tis spoken. 
Pros. ^ How ? the best ? 430 

What wert thou, if the King of Naples 
heard thee? 
Fer. A single thing, as I am now, that wonders 
To hear thee speak of Naples. He does 

hear me; 
And that he does I weep. Myself am 

Naples, 
Who with mine eyes, never since at ebb, be- 
held 435 
The King my father wreck 'd. 
Mir. Alack, for mercy*! 
Fer. Yes, faith, and all his lords; the Duke of 
Milan 
And his brave son being twain. 
Pros. ' [Aside.] The Duke of Milan 
And his more braver daughter could control 

thee. 
If now" 'twere fit to do't. At the first sight 440 
They have chang'd eyes. Delicate Ariel, 
I'll set thee free for this. [To Fer.] A 
word, good sir; 



AcTl,Sc.ii]. THE TEMPEST 79 

I fear you have done yourself some wrong; 
a word. 
Mir. Why speaks my father so uiigently ? This 
445 Is the third man that e'er I saw, the first 

That e'er I sigh'd for. Pity move my 

father 
To be inclin 'd my way ! 
Fer. 0, if a virgin, 

And your affection not gone forth, I '11 make 

you 
The Queen of Naples. 
Pi'os. Soft, sir ! one word more. 

450 [Aside.] They are both in cither's powers; 

but this swift business 
I must uneasy make, lest too light winning 
Make the prize light. \To Fer.] One word 

more ; I charge thee 
That thou attend me. Thou dost here usurp 
The name thou ow 'st not ; and hast put thy- 
self 
455 Upon this island as a spy, to win it 

From me, the lord on't. 
Fer. No, as I am a man. 

Mir. There's nothing ill can dwell in such a 
temple. 
If the ill spirit have so fair a house. 
Good things will strive to dwell witli 't. 
Pros. Follow me. 

460 Speak not you for him; he's a traitor. 

Come, 



so THE TEMPEST [Act I, Sc. li 

I'll manacle thy neck and feet together. 
Sea-water shalt thou drink; thy food shall' 

be 
The fresh-brook mussels, wither 'd roots and 

husks 
Wherein the acorn cradled. Follow. 
Fer. No; 

I will resist such entertainment till $:.:■. 

Mine enemy has more power. 

He draws, and is cliarmed from moving. 

Mir. dear father, 

Make not too rash a trial of him, for 
He's gentle and not fearful. 
Pros. What ! T say ; 

IMy foot my tutor! Put thy sword up, 

traitor^ 
Who mak'st a show but dar'st not strike, 

thy conscience 470 

Is so possess 'd with guilt. Come from thy 

ward, 

For I can here disarm thee with this stick 

And make thy weapon drop. 

Mir. Beseech you, father. 

Pros. Hence ! hang not on my garments. ^ 

Mir. Sir, have pity; 

I'll be his surety. 
Pros. Silence ! one word more 475 

Shall make me chide thee, if not hate thee. 
What ! 



Ac T 1, Sc. ii. THE TEMPEST , 81 

An advocate for an impostor 1 hush I 

Thou think 'st there is no more such shapes 

as he, 
Having seen but him and Caliban. Foolish 
wench ! 
ISO To the most of men this is a Caliban, 

And they to him are angels. 
^'^lir. M}^ affections 

Are then most humble ; I have no ambition 
To see a goodlier man. 
Pros. Come on; obey. 

Thy nerves are in their infancy again 
485 And have no vigour in them. 

Fer. So they are. 

My spirits, as in a dream, are all bound up. 
My father's loss, the weakness which I feel, 
The wreck of all my friends, nor this man's 

threats, 
T,o whom I am subdu'd, are but light to me, 
490 Might I but through my prison once a day 

Behold this maid. All corners else o' the 

earth 
Let liberty make use of; space enough 
Have I in such a prison. 
Pros. [Aside.] It works. [To Fer.] Come on. 
— Thou hast done well, fine Ariel ! [To Fer.] 
495 Follow me. 

[To Ari.] Hark what thou else shalt do me. 
Mir. Be of comfort ; 

My father's of a better nature, sir, 



'82 THE TEMPEST [Act I, Sc. 11 

Than lie appears by speech. This is un- 
wonted 
Which now came from him. 
Pros. [To Ari.l Thou shalt be as free 

As mountain winds; but then exactly do ^oo 
All points of my command. 
Ari. To the syllable. 

Pros, [To Mir. and Fer.] Come, follow. Speak 
not for him. Exeunt. 



ACT SECOND. 

Scene I / 

[Anoilicr part of the island.] 

^ Enter Alonso, Sebastian, Antonio, Gonzalo, 
Adrian, Francisco, and others. 

Gon. Beseech 3^011, sir, be merry; you have cause, 
So have we all, of joy ; for our escape 
Is much beyond our loss. Our hint of woe 
Is common; every day some sailor's wife, 
The masters of some merchant, and the mer- 
chant 
Have just our theme of Avoe ; but for the 

miracle, 
I mean our preservation, few in millions 
Can speak like us. Then wisely, good sir, 

weigh 
Our sorrow with our comfort. 
Alon. Prithee, peace. 

10 Seb. He receives comfort like cold porridge. 
Ant. The visitor Avill not give him o'er so. 
83 



84 THE TEMPEST [ActII, Sc. i 

SeJ). Look, he's winding up the Avatch of his wit ; 

by and by it will strike, 
Gon. Sir, — 

Seh. One. Tell. 15 

Gon. "When every grief is entertain'd that's 
offer 'd, 

Comes to the entertainer — 
Seh. A dollar. 
Gon. Dolour comes to him, indeed; you have 

spoken truer than you purpos'd. 20 

Seh. You have taken it wiselier than I. meant 

you should. 
Gon. Therefore, my lord, — 
Ant. Fie, what a spendthrift is he of his tongue I 
Alon. I prithee, spare. 25 

Gon. Well, I liave done. But yet. — 
SeJ). He will In^ talking. 
Ant. Which, of he or Adrian, for a good wager, 

first begins to crow? 
Seh. The old cock. 30 

Ant. The cockerel. 
Seh. Done. The wager? 
Ant. A laughter, 
Seh. A match! 

Adr. Though this island seem to be desert, — 35 
Seh. Ha, ha, ha! Antonio! So you're paid, 
Adr. Uninhabitable and almost inaccessible, — 
Seh. Yet,— 
Adr. Yet,— 
Ant. He could not :::'""'\ 40 



Aci li,8c' i] THE TEMPEST 85 

Adv. It must needs be of subtle, tender, and 

delicate temperance. 
Ant. Temperance was a delicate wench. 
8 eh. Ay, anU a subtle; as he most learnedly 
45 deliver 'd. 

Adr. Tlie air breathes upon us here most sweet- 

ly- 

Seh. As if it had lungs and rotten ones. 
Ant. Or as 'twere perfum'd by a fen, 
GoK. Here is everything advantageous to life. 
50 Ant. True: save means to live. 
Seh. Of that there's none, or little. 
Gon. How lush and lusty the grass looks ! How 

green ! 
Ant. The ground indeed is tawny. 
55 Seh. With an eye of green in't. 
Ant. He misses not much. 

Seh. No; he doth but mistake the truth totally. 
Gon. But the rarity of it is, — which is indeed 
almost beyond credit, — 
60 Seh. As many vouch 'd rarities are. 

Gon. That our garments, being, as they were, 

drench 'd in the sea, hold notwithstanding 

their freshness and glosses, being rather 

new-dy'd than stain 'd with salt water. 

65 Ant. If but one of his pockets could speak, 

would it not say he lies ? . 

Seh. Ay, or very falsely pocket up his report. 

Gon. Methinks our garments are now as fresh 

as when we put them on first in Afric, at the 



S6 THE TEMPEST [Act II, Sc. i 

marriage of the King's fair daughter Clari- 7o 

bel to the King of Tunis. 
8 eh. 'Twas a sweet marriage, and we prosper 

well in our return. <• 

Adr. Tunis was never grac'd before with such 

a paragon to their queen. 75 

Gon. Not since widow Dido's time. 
Ant. Widow ! a pox ' that ! How came that 

widow in ? "Widow Dido ! 
8 eh. What if he had said ''widower JEneas" 

too? Good Lord, how you take it! so 

Adr. ''Widow Dido" said you? You make 

me study of that. She was of Carthage, not 

of Tunis. 
Gon. This Tunis, sir, was Carthage. 
Adr. Carthage ? 85 

Gon. I assure you, Carthage. 
Ant. His word is more than the miraculous 

harp. 
8 eh. He hath rais'd the wall and houses too. 
Ant. What impossible matter will he make easy 90 

next? 
8 eh. I think he will carry this island home in 

his pocket and give it his son for an apple. 
Ant. And, sowing the kernels of it in the sea, 

bring forth more islands. 95 

Gon. Ay, 

Ant. Why, in good time. 
Gon. Sir, we were talking that our garments 

seem now as fresh as when we were at 



ACTll, So. i] THE TEMPEST 87 

100 Tunis at the marriage of your daughter, 

who is now Queen. 
Ant. And the rarest that e'er came there. 
Sch. Bate, I beseech you, widow Dido. 
Ant. 0, widow Dido I ay, widow Dido. 
105 Gon. Is not, sir, my doublet as fresh as the first 
day 1 wore it? I mean, in a sort. 
Ant. That sort was well fish'd for. 
Go7i. When I wore it at your daughter's marx 

riage ? 
Alon. You cram these words into mine ears 
against 
110 The stomach of my sense. Would I had 

never 
Married my daughter there ! for, coming 

thence, 
My son is lost and, in my rate, she too, 
Who is so far from Italy removed 
I ne'er again shall see her. thou mine 
heir 
115^ Of Naples and of Milan, what strange fish 
Hath made his meal on thee? 
F}-an. Sir, he may live. 

I saw him beat the surges under him. 
And ride upon their backs. He trod the 
water, 
120 Whose enmity he flung aside, and breasted 

The surge most swoln that met him. His 
bold head 



88 THE TEMPEST [Act II, Sc. i 

'Bove the contentious waves he kept, and 

oared 
Himself with his good arms in lusty stroke 
To the shore, that o'er his wave-worn basis 

bowed, 
As stooping to relieve him. I /not doubt 
He came alive to land. 
Alon. No, no, he's gone. 125 

Seb. Sir, you may thank yourself for this great 
loss. 
That would not bless our Europe with your 

daughter, 
But rather lose her to an African; 
Where she at least is banish 'd from your 

eye, 
Who hath cause to wet the grief on't. 
Alon. Prithee, peace. i30 

8eh. You were kneel'd to and importun'd other- 
wise 
By all of us, and the fair soul herself 
Weigh 'd between loathness and obedience, at 
Which end o' the beam should bow. We 

have lost j^our son, 
I fear, for ever. Milan and Naples have i3£ 
Moe widows in them of this business' mak- 
ing 
Than we bring men to comfort them. 
The fault's your own. 
Alon. So is the dear'st 0' the loss. 

Go7i. My lord Sebastian, 



ACTlI, Sc. i] THE TEMPEST 89 

140 The truth you speak doth lack some gentle- 

ness 
And time to speak it in. You rub the sore, 
AVhen you should bring the plaster. 
Sch. Ver}^ well. 

Ant. And most chirurgeonl}'. 
Go)i. It is foul weather in us all, good sir, 
145 When you are cloudy. 

Seh. Foul weather? 

Ant. Very foul. 

Gon. Had I plantation of this isle, my lord, — 
Anf. He'd sow't with nettle-seed. 
Sib. Or docks, or mallows. 

Gon. And were the king on't, what would I do? 
S( h. Scape being drunk for want of wine. 
i'"^ (Jon. I' the commonwealth I would by contraries 
Execute all things ; for no kind of traffic 
Would I admit ; no name of magistrate ; 
Letters should not be known; riches, 

poverty. 
And use of service, none; contract, succes- 
sion, 
156 Bourn, bound of land, tilth, vineyard, none ; 

No use of metal, corn, or wine, or oil ; 
No occupation ; all men idle, all ; 
And women too, but innocent and pure ; 
No sovereignty; — 
Seh. Yet he would be king on't. 

160 Anf. The latter end of his commonwealth for- 
gets the beginning. 



90 THE TEMPEST [Act II, Sc. i 

Gon. All tilings in common nature should 
produce 

Without sweat or endeavour; treason, 
felony, 

Sword, pike, knife, gun, or need of any 
engine, 

Would I not have ; but nature should bring 
forth, 165 

Of it own kind, all foison, all abundance. 

To feed my innocent people. 
8eh. No marrying 'mong his subjects? 
Ant. None, man; all idle. 
Gon. I would with such perfection govern, sir, no 

To excel the golden age. 
Seb. Save his Majesty ! 

Ant. Long live Gonzalo ! 

Gon. And, — do you mark me, sir? , 

Alon. Prithee, no more; thou dost talk nothing 

to me. 
Gon. I do well believe your Highness; and did 175 

it to minister occasion to these gentlemen, 

who are of such sensible and nimble lungs 

that they always use to laugh at nothing. 
Ant. 'Twas you we laugh 'd at. 
Gon. Who in this kind of merry fooling am 180 

nothing to you. So you may continue and 

laugh at nothing still. 
Ant. What a blow was there given ! 
Sel). An it had not fallen flatlong, 
Gon. You are gentlemen of brave mettle ; you 185 



ACT II, Sc. i] THE TEMPEST 91 

would lift the moon out of her sphere, if 
she would continue in it five weeks without 
changing. 
Enter Ariel [invisible], playing solemn music. 
Seh. We would so, and then go a bat-fowling. 
190 Ant. Nay, good my lord, be not angry. 

Gon. No, I warrant you: I will not adventure 
my discretion so weakly. Will you laugh me 
asleep, for I am very heavy? 
Ant. Go sleep, and hear us. 

[All sleep except Alon., Set)., and Ant.] 
195 Alon. What, all so soon asleep ! I wish mine 
eyes 
Would, with themselves, shut up my 

thoughts. I find 
They are inclin'd to do so. 
8 eh. Please you, sir, 

Do not omit the heavy offer of it. 
It seldom visits sorrow; when it doth, 
200 It is a comforter. 

Ant. We two, my lord, 

Will guard your person while you take your 

rest. 
And watch your safety. 
Alon. Thank you. Wondrous heavy. 

[Alonso sleeps. Exit Ariel.] 
Seh. What a strange drowsiness possesses them. 
Ant. It is the quality o' the climate. 
Sel). . Why 



92 THE TEMPEST [Act II, Sc. 1 

Doth it not then our eyelids sink? I find 

not 205 

Myself dispos'd to sleep. 
Ant. Nor I; my spirits are nimble. 

They fell together all, as by consent; 

They dropp'd, as by a thunder-stroke. 
What might, 

Worthy Sebastian, 0, what might — ? No 
more : — 210 

And yet methinks I see it in thy face, 

What thou shouldst be The occasion speaks 
thee, and 

My strong imagination sees a crown 

Dropping upon thy head. 
Seh. What, art thou waking? 

Ant. Do you not hear me speak? 
Seh. I do; and surely 215 

It is a sleepy language, and thou speak 'st 

Out of thy sleep. What is it thou didst say ? 

This is a strange repose, to be asleep 

With eyes wide open; standing, speak in^^ 
moving, 

And yet so fast asleep. 
Ant. Noble Sebastian, 

Thou let'st thy fortune sleep — die. r^jtler; 220 
wink^st 

Whiles thou art waking. 
Seh. Thou dost snore distinctly; 

There 's meaning in thy snores. 
Ant. I am more serious than my custom; you 

I 



ACTII, Sc. ij THE TEMPEST 93 

Must be so too, if heed me ; which to do 
225 Trebles thee o'er. 

Seb. Well, I am standing water. 

Ant. I'll teach you how to flow. 

Seb. Do so. To ebb 

Hereditary sloth instructs me. 
Ant. 0, 

If you but knew how you the purpose 
cherish 

Whiles thus you mock it ! how, in stripping 

it, 
230 You more invest it ! Ebbing men, indeed, 

]\Iost often do so near the bottom run 
By their own fear or sloth. 
Seb. P.rithee, say on. 

The setting of thine eye and cheek proclaim 
A matter from thee, and a birth indeed 
235 Which throes thee much to yield. 

Ant. Thus, sir^ 

Although this lord of weak remembrance, 

this, 
AVho shall be of as little memory 
* When he is earth 'd, hath here almost per- 
suaded — 
For he's a spirit of persuasion, only 
240 Professes to persuade — the King his son's 

alive, 
'Tis as impossible that he's undrown'd 
As he that sleeps here swims. 
Seb. I have no hope 



94 THE TEMPEST [ActII, Sc.l : 

That he's undrown'd. 
Ant. 0, out of that no hope 

What great hope have you ! No hope that 

way is ^ 

Another way so high a hope that even 245 

Ambition cannot pierce a wink beyond, 
But doubt discovery there. Will you grant 

with me 
That Ferdinand is drown 'd? 
Seh. He's gone. 

Ant. Then, tell me, 

Who's the next heir of Naples? 
Seh. Claribel. 

Ant. She that is Queen of Tunis; she that 

dwells 250 

Ten leagues beyond man's life; she that 

from Naples 
Can have no note, unless the sun were post— 
The man i' the moon's too slow — till new- 
born chins 
Be rough and razorable; she that — from 

whom 
We all were sea-swallow 'd, though some 

cast again, 255 

And by that destiny to perform an act 
Whereof what's past is prologue, what to 

come 
In yours and my discljarge. 
Seh. What stuff is this ! How say you? 



ACT II, Sc. ij THE TEMPEST 95 

'Tis true, my brother's daughter's Queen 
of Tunis; 
260 So is she heir of Naples; 'twixt which 

regions 
There is some space. 
Ant. A space whose every cubit 

Seems to cry out, "How shall that Claribel 
Measure us back to Naples ? Keep in Tunis, 
And let Sebastian wake." Say, this were 
death 
■265 That now hath seiz 'd them ; why, they were 

no worse 
Than now they are. There be that can rule 

Naples 
As well as he that sleeps; lords that can 

prate 
As amply and unnecessarily 
As this Gonzalo ; I myself could make 
270 A chough of as deep chat. 0, that you bore 

The mind that I do ! what a sleep were. this 
For your advancement 1 Do you understand 
me? 
Seh. Methinks I do. 
Ant. And how does your content 

Tender your own good fortune? 
Seh. I remember 

275 You did supplant your brother Prospero. 

Ant. True. 

And look how well my garments sit upon 
me; 



96 THE TEMPEST [ActII, Sc.i 

Much feater than before. My brother's 

servants 
. Were then my fellows; now they are my 

men. 
Seh. But, for your conscience? 
Ant. Ay, sir, where lies that? It 'twere a kibe, 280 
'Twould put me to my slipper; but I feel 

not 
This deity in my bosom. Twenty consciences. 
That stand 'twixt me and Milan, candied be 

they • 

And melt ere they molest ! Here lies your 

brother. 
No better than the earth he lies upon 285 

If he were that which now he's like, that's 

dead ; 
"Whom I, with this obedient steel, three 

inches of it. 
Can lay to bed for ever; whiles you, doing 

thus, 
To the perpetual wink for aye might put 
This ancient morsel, this Sir Prudence, who 290 
Should not upbraid our course. For all the 

rest, 
They'll take suggestion as a cat laps milk; 
They'll tell the clock to any business that 
We say befits the hour. 
Seh. Thy case, dear friend. 

Shall be my precedent ; as thou got'st Milan, 295 



Act II, Sc. ij THE TEMPEST 97 

I '11 come by Naples. Draw thy sword. One 

stroke 
Shall free thee from the tribute which thou 

pay est. 
And I the King shall love thee. 
Ant. Draw together; 

And when I rear my hand, do j^ou the likfi, 
300 To fall it on Gonzalo. 

Set. 0, but one word. 

[They talk apart.] 

Be-enter ArHel [invisible] , ivith music and song, 

Ari. My master through his art foresees the 
danger 
• That you, his friend, are in; and sends me 
forth— 
For else his project dies — to keep them liv- 
i:Dig. 

Sings in Gonzalo' s ear. 

While you here do snoring lie, 
305 Open-ey'd Conspiracy 

His time doth take. 
If of life 3^ou keep a care, 
Shake off slumber, and beware ; 

Awake, awake ! ** 

310 Ant. Then let us both be sudden. 

Oon. Now, good angels 

Preserve the King. [Wahes Alon.] 



98 THE TEMPEST [Act II, Sc. i 

Alon. Why, how ndw? Ho, awake ! Why are 
you drawn? 
Wherefore this ghastly looking? 
Gon. What's the matter? 

8 eh. Whiles we stood here securing your repose, 
Even now, we heard a hollow burst of bel- 
lowing 315 
Like bulls, or rather lions. Did't not wake 

you? * 

It struck mine ear most terribly. 
Alon. I heard nothing. 

Ant. 0, 'twas a din to fright a monster's ear, 
To make an earthquake ! Sure, it was the 

roar 
Of a whole herd of lions. 
Alon. Heard you this, Gonzalo ? 320- 

Gon. Upon mine honour, sir, I heard a hum- 
ming 
And that a strange one too, which did awake 

me, 
I shak'd you, sir, and cried. As mine eyes 

open 'd, 
I saw their weapons drawn. There was a 

noise. 
That's verily. 'Tis best we stand upon our 

guard, 325 

Or that we quit this place. Let's draw our 
weapons. 
Alon. Lead off this ground; and let's make 
further search 



AcTll, Sc.iiJ THE TEMPEaT 99 

For my poor son. 
Gon. Heavens keep him from these beasts ! 

For he is, sure, i' the island. 
Alon. Lead away. 

330 Ari. Prospero my lord shall know what 1 have 
done. 
So, King, go safely on to seek thy son. 

Exeunt. 



Scene II 

[Another part of the island.'] 

Enter Caliban xvitk a burden of ivood. A fwise 
of thunder heard. 

Cal. All the infections that the sun sucks up 
From bogs, fens, flats, on Prosper fall and 

make him 
By inch-meal a disease I His spirits hear me 
And 3^et I needs must curse. But they'll 

nor pinch, 
Fright me with urchin-shows, pitch me i ' the 

mire. 
Nor lead me, like a firebrand, in the dark 
Out of my way, unless he bid 'em ; but 
For every trifle are they set upon me. 



100 THE TEMPEST [ActII. Sc. ii 

Sometime like apes that mow and chatter at 

me 
And after bite me, then like hedgehogs 

which 10 

Lie tumbling in my barefoot way and mount 
Their pricks at my footfall ; sometime am I 
All wound with adders who with cloven 

tongues 
Do hiss me into madness. 

Enter Trinculo. 

Lo, now, lo ! 
Here comes a spirit of his, and to torment 

me 15 

For bringing wood in slowly. I'll fall flat; 
Perchance he will not mind me. 
Trin. Here 's neither bush nor shrub, to bear off 
any weather at all, and another storm brew- 
ing; I hear it sing i' the wind. Yond same 20 
black cloud, yond huge one, looks like a foul 
bombard that would shed his liquor. If it 
should thunder as it did before, I know not 
where to hide my head; yond same cloud 
cannot choose but fall by pailfuls. What 25 
have we here ? A man or a. fish ? Dead or 
alive ? A fish ; he smells like a fish • a very 
ancient and fish-like smell ; a kind of not-of- 
the-newest Poor-John. A strange fish ! Were 
I in England now, as once I was, and had so 
but this fish painted, not a holiday fool there 



ACT II, Sc. ii] THE TEMPEST 101 

but would give a piece of silver. There 
would this monster make a man; any 
strange beast there makes a man. When 

35 they will not give a doit to relieve a lame 

beggar, they will la5" out ten to see a dead 
Indian. Legg'd like a man! and his fins 
like arms! Warm, o' my troth! I do now 
let loose my opinion, hold it no longer : this 

40 is no fish, but an islander, that hath lately 

suffered by a thunderbolt. [Thunder.] 
Alas, the storm is come again! My best 
way is to creep under his gaberdine; there 
is no other shelter hereabout. Misery 

45 acquaints a man with strange bedfellows. I 

will here shroud till the dregs of the storm 
be past. 

Enter Stephano, singing: [a bottle in his hand]. 

Ste, ''I shall no more to sea, to sea. 

Here shall I die ashore — '^ 
50 This is a very scurvy tune to sing at a man 's 

funeral. Well, here's my comfort. Drinks. 

(Sings.) "The master, the swabber, the 
boatswain, and I, 
The gunner and his mate 
Lov'd Moll, Meg, and Marian, and Margery, 
55 But none of us car'd for Kate ; 

For she had a tongue with a tang, 
Would cry to a sailor. Go hang! 



102 THE TEMPEST [ActII, Sc.ii 

She lov 'd not the savour of tar nor of pitch, 

Then to sea, boys, and let her go hang!*' qq 

This is a scurvy tune too; but here's my 
comfort. Drinks. 

Cat. Do not torment me ! Oh ! 

8te. Wliat's the matter? Have we devils here? Do 
3^ou put tricks upon's with savages and men 65 
of Ind, ha ? I have not scap 'd drowning to 
be afeard now of your four legs ; for it hath 
been said, ' ' As proper a man as ever went on 
four legs cannot make him give ground"; 
and it shall be said so again Avhile Stephano 70 
breathes at nostrils. 

Cal. The spirit torments me ! Oh ! 

8tc. This is some monster of the isle with four 
legs, who hath got, as I take it, an ague. 
Where the devil should he learn our Ian- 75 
guage ? I will give him some relief, if it be 
but for that. If I can recover him and keep 
him tame and get to Naples with him, he's 
a present for any emperor that ever trod on 
neat's-leather. so 

Cal. Do not torment me, prithee; I'll bring 
my wood home faster. 

Ste. He's in his fit now and does not talk after 
the wisest. He shall taste of my bottle; if. 
he have never drunk wine afore, it will go 85 



ACT II, Sc. ii] ^ THE TEMPEST 103 

near to remove his fit. If I can recover him 

and keep him tame, I will not take too much 

for him ; he shall pay for him that hath him, 

and that soundly. 
90 Cal. Thou dost me yet little hurt ; thou wilt 

anon, I know it by thy trembling. Now 

Prosper works upon thee. 
Ste. Come on your ways. Open your mouth ; 

here is that which will give language to you, 
95 cat. Open your mouth ; this will shake your 

shaking, I can tell you, and that soundh^ 

You cannot tell who's your friend. Open 

your chaps again. 
Trin. I should know that voice ; it should be 
100 — but he is drown 'd; and these are devils. 

defend me ! 
Ste. Four legs and two voices; a most delicate 

monster ! His forward voice now is to speak 

well of his friend; his backward voice is to 
105 utter foul speeches and to detract. If all the 

wine in my bottle will recover him, I will 

help his ague. Come. Amen I I will pour 

some in thy other mouth. 
Trin. Stephano ! 
no Ste. Doth thy other mouth call me ? ^lercy, 

mercy ! This is a devil, and no monster. I 

will leave him ; I have no long spoon. 
Ti'in. Stephano ! If thou beest Stephano, touch 

me and speak to me; for I am Trinculo, — 
115 be not afeard — thy good friend Trinculo. 



104 THE TEMPEST [Act II, Sc. ii 

8te. If thou beest Trinculo, come forth. I'll 
pull tiiee b}^ the lesser legs. If any be Trin- 
culo's legs, these are they. Thou art very 
Trinculo indeed ! How cam 'st thou to be 
the siege of this moon-calf ? Can he vent 120 
Trinculos ? 
"rin. I took him to be kilFd with a thunder- 
■ stroke. But art thou not drowTi'd, Ste- 
phano? I hope now thou art not drown 'd. 
Is the storm overblown ? I hid me under the 125 
dead moon-calf's gaberdine for fear of the 
storm. And art thou living, Stephano? 
Stephano, two Neapolitans scap'd! 

8te. Prithee, do not turn me about ; my stomach 
is not constant. i30 

Cat. [Aside.] These be fine things, an if they 
be not sprites. 
That's a brave god and bears celestial liquor. 
I will kneel to him. 

8te. How didst thou scape? How eam'st thou 
hither ? Swear by this bottle how thou 135 
eam'st hither, — I escap'd upon a butt of 
sack which the sailors heaved o'erboard — ^by 
this bottle, which I made of fhe bark of 
a tree with mine own hands since I was 
cast ashore. 140 

Cal. I'll swear upon that bottle to be thy true 
subject; for the liquor is not earthly. 

^te. Here; swear then how thou eseap'dst. 



ACTII, Sc.iij THE TEMPEST 105 

THn. Swam ashore, man, like a duck. I can 
145 swim like a duck, I'll be sworn. 

8te. Here, kiss the book. Though thou canst 
. swim like a duck, thou art made like a goose. 
Trin. Stephano, hast any more of this? 
8te. The whole butt, man. My cellar is in a 
150 rock by the seaside where my wine is hid. 

How now, moon-calf! how does thine ague? 
Col. Hast thou not dropp'd from heaven? 
Ste. Out o' the moon, I do assure thee. T was 
the man i' the moon when time was. 
155 Cat. I have seen thee in her and I do adore thee. 
My mistress show'd me thee and thy dog 
and thy bush. 
Ste. Come, swear to that; kiss the book. I will 
furnish it anon with new contents. Swear. 
Trin. By this good light, this is a very shallow 
160 monster! I a f card of him! A ver^- weak 

monster ! The man i ' the moon ! A most 
poor credulous monster ! Well drawn, 
monster, in good sooth! 
Cal. I'll show thee every fertile inch o' the 
165 island ; And I will kiss thy foot. I prithee, 

be my god. 
Trin. By this light, a most perfidious and 
drunken monster! When's god's asleep, 
he'll rob his bottle. 
170 Cal. I'll kiss thy foot. I'll swear myself thy 
subject. 
Ste. Come on then : down, and swear. 



106 * • THE TEMPEST [ACTlI.Sc.ii 

Trin. I shall laugh myself to death at this pup- 
P3^-headed monster. A most scurvy mon- 
ster ! I could find in my heart to beat him — 

Ste. Come, kiss. 175 

Trin. But that the poor monster's in drink. An 
abominable monster! 

Cal. I'll show thee the best springs; I'll pluck 
thee berries; 
I'll fish for thee and get thee wood enough. 
A plague upon the tyrant that I serve! 180 
I '11 bear him no more sticks, but follow thee, 
Thou wondrous man. 

Trin. A most ridiculous monster, to make a 
wonder 01 a poor drunkard ! 

Cal. I prithee, let me bring thee where crabs 

grow ; 185 

And I with my long nails will dig thee pig- 
nuts ; 

Show thee a jay's nest and instruct thee 
how 

To snare the nimble marmoset. I'll bring 
thee 

To clust'ring filberts and sometimes I'll get 
thee 

Young scameis from the rock. Wilt thou 
go with me ? i90 

Ste. I prithee now, lead the way without any 

more talking. Trinculo, the King and all 

our company else being drown 'd, we will 



Act II, Sc. ii] THE TEMPEST ^ 107 

inherit here. Here ! bear my bottle. Fel- 
195 low Trinculo, we '11 fill him by and by again. 

Cal. {Si7igs drunkenly.) 

Farewell, master; farewell, farewell! 
Trin. A howling monster ; a drunken monster ! 
Cal. No more dams I'll make for fish; 
Nor fetch in firing 
200 At requiring; 

Nor scrape trenchering, nor wash dish. 
'Ban, 'Ban, Cacaliban 
205 Has a new master, get a new man. 

Freedom, hey-day ! hey-day, freedom ! free- 
dom, hey-day, freedom ! 
Ste. brave monster! Lead the way. Exeunt. 



ACT THIRD. 

Scene I 

[Before Prosperous cell.] 

Enter Ferdinand, hearing a log. 

Fer. There be some sports are painful, and 
their labour 
Delight in them sets off ; some kinds of base- 
ness 
Are nobly undergone, and most poor mat- 
ters 
Point to rich ends. This my mean task 
Would be as heavy to me as odious, but 5 
The mistress which I serve quickens what^s 

dead 
And makes my labours pleasures. O, she is 
Ten times more gentle than her father's 

crabbed, 
And he's compos 'd of harshness. I mii^t 

remove 
Some thousands of these logs and pile them 
up, 10 

108 



.AcTllI, Sc. i] THE TEMPEST 109 

Upon a sore injunction. My sweet mistress 
Weeps when she sees me work^ and sa}.- 

such baseness 
Had never like executor. I forget ; 
But these sweet thoughts do even refresh 

my labours, 
15 Most busy least, when I do it. 



Enter Miranda; and Prospero [at a distance, 
unseen]. 

Mir. Alas, now, pray you, 

Work not so hard. I would the lightning 

had 
Burnt up those logs that you are enjoin 'd 

to pile ! 
Pray, set it down and rest you. When this 

burns, 
'Twill weep for having wearied you. ^ly 
father 
20 Is hard at study; pray now, rest yourself; 

He's safe for these three hours. 
Fer. most dear mistress. 

The sun will set before I shall discharge 
What I must strive to do. 
Mir. If you'll sit down, 

I'll bear your logs the while. Pray, give 
me that; 
25 I'll carr}^ it to the pile. 

Fer. No, precious -creature ; 



110 THE TEMPEST [Act III, Sc. i 

I had rather crack my sinews, break my 

back, 
Than you should such dishonour undergo, 
While I sit lazy by. 
Mir. It would become me 

As well as it does you; and I should do it 
With much more ease, for my good will is 

to it, 30 

And yours it is against. 
Pros. Poor worm, thou art infected! 

This visitation shows it. 
Mir. You look wearily. 

Fer. No, noble mistress ; 'tis fresh morning with 
me 
When you are by at night. I do beseech 

you — 
Chiefly that I might set it in my prayers — 35 
What is your name? 
Mir. Miranda. — my father, 

I have broke your best to say so ! 
Fer. Admir'd Miranda! 

Indeed the top of admiration ! worth 
What's dearest to the world! Full many 

a lady 
I have ey'd with best regard, and many a 

time 40 

The harmony of their tongues hath into 

bondage 
Brought my too diligent ear; for several 
virtues 



ACTIII, Sc. i] THE TEMPEST 111 

Have I lik'd several women, never any 

With so full soul, but some defect in her 
45 Did quarrel with the noblest grace she ow'd 

And put it to the foil; but you, you, 

So perfect and so peerless, are created 

Of every creature's best! 
Mir. I do not know 

One of my sex; no woman's face remember, 
50 Save, from my glass, mine own; nor have I 

seen 

More that I may call men than you, good 
friend. 

And my dear father. How features are 
abroad, 

I am skilless of ; but, by my modesty, 

Th€ jewel in my dower, I would not wish 
55 Any companion in the world but you, 

Nor can imagination form a shape. 

Besides yourself, to like of. But I prattle 

Something too wildly, and my father's pre- 
cepts 

I therein do forget. 
Fer. I am in my condition 

50 A prince, Miranda ; I do think, a king ; 

I Avould, not so! — and would no more en- 
dure 

This wooden slavery than to suffer 

The flesh-fly blow my mouth. Hear my soul 
speak. 

The very instant that I saw you, did 



112 THE TEMPEST [AcTlll,Sc. i 

My heart fly to your service ; there resides, 65 

To make me slave to it; and for your sake 

Am I this patient log-man. 
^^ir. Do you love me? 

Fer. heaven, earth, bear witness to this 
sound, 

And crown what I profess with kind event 

If I speak true ! if hollowly, invert to 

What best is boded me to mischief ! I 

Beyond all limit of what else i ' the world 

Do love, prize, honour you. 
Mr. I am a fool 

To weep at what I am glad of. 
Pros, Fair encounter 

Of two most rare affections! Heavens rain 
grace 75 

On that which breeds between 'em ! 
Fer. Wherefore weep you? 

3Iir. At mine unworthiness, that dare not offer 

What I desire to give, and much less take 

What I shall die to want. But this is tri- 
fling; 

And all the more it seeks to hide itself, so 

The bigger bulk it shows. Hence, bashful 
cunning ! 

And prompt me, plain and holy innocence ! 

I am your wife, if you will marry me ; 

If not, I '11 die your maid. To be your fellow 

You may deny me ; but I '11 be your servant, 85 

Whether vou will or no. 



AcTlU, iSc. ii] TilE TEMPEST 113 

Fe7\ ]\Iy mistress, dearest ; 

And I thus humble ever. . 
Mir. My husband, then? 

Fer. Ay, with a heart as willing 

As bondage e'er of freedom. Here's my 
hand. 
30 Mi7\ And mine, with my heart in't. And now 
farewell 
Till half an hour hence. 
Fer. A thousand thousand t 

Exeunt [Fer. and Mir. severally^. 
Pros. So glad of this as they I cannot be, 

Who are surpris'd withal; but my rejoicing 
At nothing can be more. I'll to my book, 
95 For yet ere supper-time must I perform 

Much business appertaining. Exit. 



Scene II 
[Afiother part of the island.] 

Enter Caliban, Stephano, and Trin<:ulo. 

Ste. Tell not me. When the butt is out, we will 
drink water; not a drop before; therefore 
bear up, and board 'em. Servant-monster, 
drink to me. 
5 Trin. Servant-monster ! the folly of this island ! 
They say ■ there 's but five upon this isle : 



114 . THE TEMPEST [Act III, Sc. U 

we are three of tliem; if the other two be 
brain 'd like us, the state totters. 

Ste. Drink, servant-monster, when I bid thee. 
Thy eyes are ahnost set in thy head. lo 

Trin. Where should they be set else? He were 
a brave monster indeed, if they were set in 
his tail. 

Ste. My man-monster hath drown 'd his tongue 
in sack. For my part, the sea cannot drown 15 
me ; I swam, ere I could recover the shore, 
five and thirty leagues off and on,, By this 
light, thou shalt be my lieutenant, monster, 
or my standard. 

Trin. Your lieutenant, if you list ; he 's no 20 
standard. 

Ste. We'll not run. Monsieur Monster. 

Trin. Nor go neither; but you'll lie like dogs 
and yet say nothing neither. 

Ste. Moon-calf, speak once in thy life, if thou 25 
beest a good moon-calf. 

Cal. How does thy honour? Let me lick thy 
shoe. I'll not serve him; he's not valiant. 

Trin. Thou liest, most ignorant monster! I am 
in case to justle a constable. Why, thou so 
debosh'd fish, thou, was there ever man a 
coward that hath drunk so much sack as I 
today? Wilt thou tell a monstrous lie, be- 
ing but half a fish and half a monster ? 

Cal. Lo, how he mocks me ! Wilt thou let him, 35 
my . lord ? 



Act III, Sc. ii] THE TEMPEST 115 

Trin. ''Lord" quoth he ! That a monster should 

be such a natural! 
Cal. Lo, lo, again ! Bite him to death, I 
40 prithee. 

8te. Trinculo, keep a good tongue in your head. 

If you prove a mutineer, — the next tree ! 

The poor monster's my subject and he shall 

not suffer indignity. 
45 Cal. I thank my noble lord. Wilt thou be 

pleas 'd to hearken once again to the suit I 

made to thee ? 
Ste. Marry, will I; kneel and repeat it. I will 

stand, and so shall Trinculo. 

Enter Ariel, invisihle. 

50 Cal. As I told thee before. T am subject to a 

tyrant, a sorcerer, that by his cunning hath 

cheated me of the island. 
Aii. Thou liest. 

Cal. Thou liest, thou jesting monkey, thou. I 
55 would my valiant master would destroy 

thee ! I do not lie. 
8te. Trinculo, if you trouble him any more in 's 

tale, by this hand, I will supplant some of 

your teeth. 
60 Trin. Why, I said nothing. 

8te. Mum, then, and no more. Proceed. 
Cal. I say, by sorcery he got this isle; 

From me he got it. If thy greatness will 

Revenge it on him, — for I know thou dar 'st, 



116 THE TEMPEST [Act III, Sc. ii 

But this thing dare not, — 65 

Ste. That's most certain. 

Cat. Thou shalt be lord of it and I'll serve thee. 

Ste. How now shall this be compass 'd? Canst 
thou bring me to the party? 

Col. Yea, yea, my lord. I'll yield him thee 

asleep, 70 

Where thou mayst knock a nail into his 
head. 

An. Thou liest ; thou canst not. 

Cat. "What a pied ninny's this! Thou scurvy 
patch ! 
I do beseech thy greatness, give him blows 
And take his bottle from him. When that 's 

gone 75 

He shall drink nought but brine; for I'll 

not show him 
Wliere the quick freshes are. 

8te. Trinculo, run into no further danger. In- 
terrupt the monster one word further, and, 
by this hand, I '11 turn my mercy out o ' 80 
doors and make a stock-fish of thee. 

Trin. Why, what did I? I did nothing. I'll 
go farther off. 

8te. Didst thou not say he lied? 

An. Thou liest. - 85 

Ste. Do I so? Take thou that. [Beats Trin.] 
As you like this, give me the lie another 
time. 

Trin. I did not give the lie. Out o' your wits 



AcTlII. Sc. ii] THE TEMPEST 117 

90 and hearing too? A pox o' your bottle ! this 

can sack and drinking do. A murrain on 
your monster, and the devil take your 
fingers! 
Cal. Ha, ha, ha! 
95 Ste. Now, forward with your tale. Prithee, 
stand farther off. 
Cal. Beat him enough. After a little time 

I'll beat him too. 
Ste. Stand farther. Come, proceed. 

Cal. Why, as I told thee, 'tis a custom with him, 
100 I' the afternoon to sleep. There thou mayst 

brain him, 
Having first seiz'd his books, or with a log 
Batter his skull, or paunch him with a stake, 
Or cut his wezand with thy knife. Remem- 
ber 
First to possess his books ; for without them 
105 He's but a sot, as I am, nor hath not 

One spirit to command. They all do hate 

him 
As rootedly as I. Burn but his books. 
He has brave utensils, — for so he calls 

them, — 
Which, when he has a house, he'll deck 
withal. 
110 And that most deeply to consider is 

The beauty of his daughter. He himself 
Calls her a nonpareil. I never saw a woman 
But only Syeorax my dam and she; 



118 THE TEMPEST [Act III. Sc. ii 

But she as far surpasseth Sycorax 

As greatest does least. 
Ste. Is it so brave a lass? us 

Cal. Ay, lord; she will become th}^ bed, I war- 
rant, 

And bring thee forth brave brood. 
8te. Monster, I will kill this man. His daughter 

and I will be king and queen, — save our 

Graces ! — and Trinculo and thyself shall be 120 

viceroys. Dost thou like the plot, Trinculo ? 
Trin. Excellent. 
8te. Give me thy hand. I am sorry I beat thee ; 

but, while thou liv'st,.keep a good tongue 

in thy head. 125 

Cal. Within this half hour will he be asleep. 

Wilt thou destroy him then ? 
Ste. Ay, on mine honour. 

Ari. This will I tell my master. 
Cal. Thou mak 'st me merry ; I am full of pleas- 
ure. 

Let us be jocund. Will you troll the catch 130 

You taught me but while-ere? 
8te. At thy request, monster, I will do reason, 

any reason. Come on, Trinculo, let us sing. 

Sings. 
Flout 'em and scout 'em 
And scout 'em and flout 'em ; 135 

Thought is free. 
Cal. That's not the tune. 

Ariel plays the tune on a tahor and pipe. 



ACT III, Sc. ii] THE TEMPEST 119 

Ste. What is this same ? 

Trin. This is the tune of our catch, played by 
140 the picture of Nobody. 

Ste. If thou beest a man, show thyself in thy 
likeness. If thou beest a devil, take't as 
thou list. 
Trin. 0, forgive me my sins ! 
145 Sle. He that dies pays all debts. I defy thee. 
]Mercy upon us ! 
Cal. Art thou afeard? 
Ste. No, monster, not I. 

Cal. Be not afeard. The isle is full of noises, 
150 Sounds and sweet airs, that give delight and 

hurt not. 
Sometimes a thousand twangling instru- 
ments 
Will hum about mine ears, and sometime 

voices 
That, if I then had wak'd after long sleep, 
Will make me sleep again; and then, in 
dreaming, 
155 The clouds methought would open and show 

riches 
Read}" to drop upon me, that, when I wak'd, 
I cried to dream again. 
Ste. This will prove a brave kingdom to me, 
where I shall have my music for nothing. 
160 Cal. When Prospero is destroy 'd. 

Ste. That shall be by and by. I remember the 
story. 



120 THE TEMPEST [Act III, Sc. iii 

Trin. The sound is going away. Let's follow 

it, and after do our work. 
Ste. Lead, monster; we'll follow. I would 1 165 

could see this taborer ; he lays it on. 
Trin. Wilt come? I'll follow, Stephano. 

Exeu7it, 

Scene III 

[Anothet^ part of the islaTid.] 

Enter Alonso, Se'bastian, Antonio, Gonzalo, 
Adrian, Francisco, etc. 

Gon. By'r lakin, I can go no further, sir; 

My old bones ache. Here's a maze trod in- 
deed 

Through forth-rights and meanders! By 
your patience, 

I needs must rest me. 
Alon. Old lord, I cannot blame thee, 

"Who am myself attach 'd with weariness 5 

To the dulling of my spirits. Sit down, and 
rest. 

Even here I will put off my hope and keep 

it 
No longer for my flatterer. He is drown 'd 
Whom thus we stray to find, and the sea 

mocks 
Our frustrate search on land. Well, let him 



AcTlll, Sc. iii] THE TEMPEST 121 

Ant. [Aside to Seh.] I am right glad that he's 
so out of hope. 
Do not, for one_ repulse, forego the purpose 
That you resolv'd to effect. 
Seh. [Aside to Ant.] The next ad- 

vantage 
Will we take throughly. 
Ant. [Aside to Seh.] Let it be to-night; 

15 For, now they are oppress 'd with travel, 

they 
Will not, nor cannot, use such vigilance 
As when they are fresh. 
Solemn and strange music; and Prospero on the 
tof} invisible. Enter several strange shapes, 
hringing in a banquet; and dance about it luith 
gentle actions of salutation ; and, inviting the 
King, etc., to eat, they depai't. 
Seb. [Aside to Ant.] 1 say, to-night. No more. 
Alon. What harmony is this? My good friends, 

hark ! 
Go)i. Marvellous sweet music ! 
20 Alon. Give us kind keepers, heavens! What 
were these? 
Selj. A living drollery. Now I will believe 
That there are unicorns, that in Arabia 
There is one tree, the phoenix' throne, one 

phoenix 
At this hour reigning there. 
Ant. I'll believe both: 

25 And what does c::-o w;^iit credit, come to me, 



122 THE TEMPEST [Act III, Sc. iii 

And I'll be sworn 'tis true. Travellers ne'er 

did lie, 
Though fools at home condemn 'em. 
Gon. If in Naples 

I should report this now, would they believe 

me? 
If I should say, I saw such islanders — 
For, certes, these are people of the island — 33 
Who, though they are of monstrous shape, 

yet, note, 
Their manners are more gentle, kind, than 

of 
Our human 'generation you shall find 

Many, nay, almost any. 

Pros. [Aside.] Honest lord, 

Thou hast raid well ; for some of you there 

present 35 

Are worse than devils. 

Alon. I cannot too much muse 

Such shapes, such gesture, and such sound, 

expressing, 

Although they w^ant the use of tongue, a 

kind 

Of excellent dumb discourse. 

Pros. ' [Aside.] Praise in departing. 

Fran. They vanish 'd strangely. 

Seh. No matter, since 40 

They have left their viands behind, for w^e 

have stomachs. 

Will't please you taste of what is here? 



ACT 111, !Sc. iii] THE TEMPEST 123 

A Ion, Not I. 

Gon. Faith, sir, you need not fear. When we 
were boys, 
Who would believe that there were moun- 
taineers 
45 Dew-lapp'd like bulls, whose throats had 

hanging at 'em 
Wallets of flesh? or that there were such 

men 
Whose heads stood in their breasts? which 

now we find 

Each putter-out of five for one will bring us 

Good warrant of. 

Alon. I will stand to and feed, 

50 Although my last. No matter, since I feel 

The best is past. Brother, my lord the 

Duke, 
Stand to and do as we. 
Thunder and ligJitning. Enter Ariel like a 
harpy; claps his ivings upon the table; and, 
ivith a quaint device, the hariquet vanishes. 
Ari. You are three men of sin, whom Destiny, 
That hath to instrument this lower world 
55 And what is in't, the never-surfeited sea 

Hath caus'd to belch up you; and on this 

island 
Where man doth not inhabit; you 'mongst 

men 
Being most unfit to live. I have made you 
mad; 



124 THE TEMPEST [Act III, Sc. iii 

And even with snch-like valour men hang 

and drown 
Their proper selves. 

[Alon., Seh., etc., draw their stvords.] 

You fools! I and my fellc^Ys eo 
Are ministers of Fate. The elements, 
Of whom your swords are temper 'd, may 

as well 
Wound the loud winds, or with bemock'd-at 

stabs 
Killthe still-closing waters, as diminish 
One dowle that's in my plume. My fellow- 
ministers 65 
Are like invulnerable. If you could hurt, 
Your swords are now too massy for your 

strengths 
And will not be uplifted. But remember — 
For that's my business to you — ^that you 

three 
From Milan did supplant good Prospero ; 70 
Expos 'd unto the sea, which hath requit it, 
Him and his innocent child ; for which foul 

deed 
The powers, delaying, not forgetting, have 
Incens'd the seas and shores, yea. all the 

creatures. 
Against your peace. Thee of t]i.y son, 

Alonso^ 75 

They have bereft ; and do pronounce by me 
Ling 'ring perdition, worse than any death 



Arr III, Ho. iiij THE TEMPEST 125 

Can be at once, shall step by step attend 
. You and your ways ; whose wraths to guard 
you from — 
80 Which here, in this most desolate isle, else 

falls 
Upon your heads — is nothing but heart's 

sorrow 
And a clear life ensuing. 

He vanishes in thunder; then, to soft musicy 
enter the shapes again, and dance, with 
raocks and mows, and carrying, out the table. 
Pros. Bravely the figure of this harpy hast thou 
Perform 'd, my Ariel; a grace it had, de- 
vouring. 
85 Of my instruction hast thou nothing bated 

In wha^. thou hadst to say ; so, with good life 
And observation strange, my meaner min- 
isters 
Their several kinds have done. My high 

charms work, 
And these mine enemies are all knit up 
90 In their distractions. They now are in my 

power ; 
And in these fits I leave them, while I visit 
Young Ferdinand, whom they suppose is 

drown 'd, 
And his and mine lov'd darling.. 

[Exit above.] 
Gon. V the name of something holy, sir, why 
stand you 



126 THE TEMPEST [Act III, Sc. iii 

In this strange stare ? 
Alon. 0, it is monstrous, monstrous ! 95 

Methought the billows spoke and told me of 

it; 
The winds did sing it to me, and the thun- 
der, 
That deep and dreadful organ-pipe, pro- 

nounc 'd 
The name of Prosper; it did bass my tres- 
pass. 
Therefore my son i' the ooze is bedded, and 100 
I'll seek him deeper than e'er plummet 

sounded 
And with him there lie mudded. [Exit.] 
Seh. But one fiend at a time, 

I '11 fight their legions 'er. 

Ant. I'll be thy second. 

Exeunt [Seh. and Ant.] 

Gon. All three of them are desperate: their 

great guilt. 

Like poison given to work a great time 

after, 105 

Now gins to bite the spirits. I do beseech 

you 
That are of suppler joints, follow them 

swiftly 
And hinder them from what this ecstasy 
May now provoke them to. 
Adr. P'ollow, I pray you. 

Exeunt. 



ACT FOURTH 

Scene I 

[Before Prosperous cell.] 

Enter Prospero, Ferdinand, and Miranda. 

Pros. If I have too austerely punish 'd you, 
Your compensation makes amends, for I 
Have given you here a third of mine own 

life, 
Or that for which I live ; who once again 
I tender to thy hand. All thy vexations 
Were but my trials of thy love, and thou 
Hast strangely stood the test. Here, afore 

Heaven, 
I ratify this my rich gift. Ferdinand, 
Do not smile at me that I boast her off, 
For thou shalt find she will outstrip all 

praise 
And make it halt behind her. 
Per. I do believe it 

Against an oracle. 
Pros. Then, as my gift and thine own acquisi- 
tion 
"Worthily purchased, take my daughter. But 
If thou dost break her virgin-knot before 
All sanctimonious ceremonies may 
With full and holy rite be minist'red, 
127 



128 THE TEMPEST [Act IV. Sc. 

No sweet aspersion shall the heavens let fall 
To make this contract grow; but barren 

Hate, 
Sour-eyed Disdain and Discord shall be- 
strew 20 
The union of your bed with weeds so loathly 
That you shall hate it both. Therefore take 

heed. 
As Hymen's lamps shall light you. 
Fer. As I hope 

For quiet days, fair issue, and long life. 
With such love as 'tis now, the murkiest 

den, 25 

The most opportune place, the strong 'st 

suggestion 
Our worser genius can, shall never melt 
Mine honour into lust, to take away 
The edge of that day's celebration 
When I shall think or Phoebus' steeds are 

founder 'd so 

Or Night kept chain 'd below. 
Pros. Fairly spoke. 

Sit then and talk with her ; she is thine own. 
What, Ariel ! my industrious servant, Ariel ! 

Enter Ariel. 

Ari. What would my potent master? Here I 

am. 
Pros. Thou and thy meaner fellows your last 

service 35 



.\cr.v. S(. ij THE TEMPEST 129 

Did woi'thiiy perform; and I nmst use you 
In such another trick. Go bring the rabble, 
O'er whom I give thee power, here to this 

place. 
Incite them to quick motion; for I must 
40 Bestow upon the eyes of this young couple 

Some vanity of mine art. It is my promise, 
And they expect it from me. 
Ari. Presently? 

Pros. Ay, with a twink. 
An. Before you can say ''come" and '^go," 
45 And breathe twice and cry "so, so," 

Each one, tripping on his toe. 
Will be here with mop and mow. 
Do you love me, master? No? 
Pros. Dearly, my delicate Ariel. Do not ap- 
proach 
50 Till thou dost hear me call. 

Ari. Well, I conceive. 

Exit. 

Pros. Look thou be true; do not give dalliance 

Too much the rein. The strongest oaths are 

straw 
To the fire i' the blood. Be more abstemious. 
Or else, good night your vow ! 
Fer. I warrant you, sir; 

^^ The white cold virgin snow upon my heart 

Abates the ardour of my liver. 
Pros. Well. 

Now come, my Ariel ! bring a corollary. 



130 THE TEMPEST [Act IV, Sc. i 

Kather than want a spirit. Appear, and 

pertly ! 
No tongue ! all eyes ! Be silent. Soft music. 

Enter Iris. 

Iris. Ceres, most bounteous lady, thy rich leas eo 
Of Avheat, rye, barley, vetches, oats, and 

pease ; 
Thy turfy mountains, where live nibbling 

sheep, 
And flat meads thatch 'd with stover, them 

to keep ; . 
Thy banks with pioned and twilled brims, 
"Which spongy April at thy best betrims 65 
To make cold nymphs chaste crowns; and 

thy brown groves. 
Whose shadow the dismissed bachelor loves. 
Being lass-lorn; thy pole-clipp'd vineyard; 
And thy sea-marge, sterile and rocky-hard, 
Where thou thyself dost air ; — the queen o ' 

the sky, 70 

Whose watery arch and messenger am I, 
Bids thee leave these, and with her sov- 
ereign grace, Jimo descends. 
Here on this grass-plot, in this very place, 
To come and sport ; here peacocks fly amain. 
Approach, rich Ceres, her to entertain. 75 



ACT IV, Sc. i] THE TEMPEST 131 

Enter Ceres. 

Cer. Hail, many-coloured messenger, that ne'er 
Dost disobey the wife of Jupiter ; 
Who with thy saffron wings upon my 

flowers 

Diffusest honey-drops, refreshing showers, 

80 And with each end of thy blue bow dost 

crown 

My bosky acres and my unshrubb'd down. 

Rich scarf to my proud earth; why hath 

thy queen 
Summoned me hither, to this short-grass 'd 
green ? 
Iris. A contract of true love to celebrate; 
85 And some donation- freely to estate 

On the blest lovers. 
Cer. Tell me, heavenly bow, 

If Yenus or her son, as thou dost know, ' 
Do now attend the Queen? Since they did 

plot 
The means that dusky Dis my daughter got, 
90 Her and her blind boy's scandal'd company 

I have forsworn. 
Iris. Of her society 

Be not afraid. I met her deity 
Cutting the clouds towards Paphos, and her 

son 
Dove-drawn with her. Here thought they 
to have done 



132 THE TEMPEST [Act IV, Se. i 

Some wanton charm upon this man and 
maid. 



But in vain. 
Mars's hot minion is returned again; 
Her waspish-headed son has broke his ar- 
rows, 
Swears he will shoot no more, but play with 

sparrows loo 

And be a boy right out. 
Cer. Highest queen of state, 

Great Juno, comes ; I know her by her gait. 

[Enter Juno.] 

Juno. How does my bounteous sister? Go with 
me 
To bless this twain, that they may prosper- 
ous be 
And honoured in their issue. Tkey sing. 105 
Juno. Honoup, riches, marriage-blessing, 
Long continuance, and increasing, 
Hourly joys be still upon you ! 
Juno sings her blessings on you. 
Cer. Earth's increase, foison plenty, 110 

Barns and garners never empty. 
Vines with clustering bunches growing. 
Plants with goodly burden bowing. 
Spring come to you at the farthest 



ACT IV, Sc i] THE TEMPEST - 133 

115 In the very end of harvest ! * 

Scarcity and want shall shun you ; 
Geres' blessing so is on you. 
Fer. This is a most majestic vision, and 

Harmonious charmingly. May I be bold 
To think these spirits? 
120 Pros. Spirits, which by mine art 

I have from their confines call'd to enact 
yiy present fancies. 
Fer. Let me live here ever; 

So rare a wond'red father and a wise 
Makes this place Paradise. 
Pros. Sweet, now, silence I 

125 Juno and Ceres whisper seriously. 

' , There's something else to do; hush, and be 
mute. 
Or else our spell is marr'd. 

Juno and Ceres tvkisper, and send 
Iris on employment. 
Iris. You nymphs, call'd Naiads, of the winding 
brooks. 
With your sedg'd crowns and ever-harmless 
looks, 
130 Leave your crisp channels, and on this green 

land 
Answer your summons; Juno does com- 
mand. 
Come, temperate nymphs, and help to cele 

brate 
A contract of true love : be not too late. 



134 " THE TEMPEST [Act IV, Sc. i 

'Enter certain Nymphs. 

You sunburnt sicklemen, of August weary, 
Come hither from the furrow and be merry. 135'' 
Make holiday; your rye-straw hats put on 
And these fresh nymphs encounter every 

one 
In country footing. 

Enter certain Reapers, properly habited: they 
join with the Nymphs in a graceful dance; 
toivards the end whereof Prospero starts sud- 
denly, and speaks; after which, to a strange, 
Jiolloxv, and, confused noise, they heavily van- 
ish. 

Pros. [Aside.] I had forgot that foul conspir- 
acy 
Of the beast Caliban and his confederates i40 
Against my life. The minute of their plot 
Is almost come. [To the Spirits.] Well 
done! avoid. No more! 
Fer. This is strange. Your father's in some 
passion 
That works him strongly. 
Mir. Never till this day 

Saw I him touched with anger, so distem- 
pered. 145 
Pros. You do look, niy son, in a mov'd sort. 
As if 3^ou were dismayed. Be cheerful, sir, 



Act IV, Sc. i] THE TEMPEST 135 

Our revels now are ended. These our actors, 
As I foretold you, were all spirits, and 
150 Are melted into air, into thin air ; 

And, like the baseless fabric of this vision, 
The cloud-capp'd towers, the gorgeous pal- 
aces, 
The solemn temples, the great globe itself. 
Yea, all which it inherit, shall dissolve 
155 And, like this insubstantial pageant faded, 

Leave not a rack behind. We are such stuff 
As dreams are made on, and our little life 
Is rounded with a sleep. Sir, I am vex'd, — 
Bear with my weakness — my old brain is 
troubled. 
160 Be not disturb 'd with my infirmity. 

If 3^ou be pleas 'd, retire into my cell 
And there repose. A turn or two I'll walk, 
To still my beating mind. 
Fer. Mir. "We wish your peace. 

Exeunt. 
Pros. Come with a thought. I thank thee, Ariel ; 
come. 

Enter Ariel. 

105 A ri. Thy thoughts I cleave to. What's thy 
pleasure ? 
Pros. Spirit, 

We must prepare to meet with Caliban. 
Ari. Ay, my commander. When I presented 
Ceres, 



136 THE TEMPEST [Act IV, Se. i 

I thought to have told thee of it, but I 

fear'd 
Lest I might anger thee. 
Pros. Say again, where didst thou leave these 

varlets ? i70 

Ari. I told you, sir, they were red-hot with 

drinking ; 
So full of valour that they smote the air 
For breathing in their faces; beat the 

ground 
For kissing of their feet; yet always bend- 
ing 
Towards their project. Then I beat my 

tabor; 175 

At which, like unback'd colts, they prick 'd 

their ears, 
Advanc 'd their eyelids, lifted up their noses 
As they smelt music. So I charm 'd their 

ears 
That calf-like they my lowing follow 'd 

through 
Tooth 'd briers, sharp furzes, pricking gorse, 

and thorns, iso 

Which ent'red their frail shins. At last I 

left them 
I' the filthy-mantled pool beyond your cell, 
There dancing up to the chins, that the foul 

lake 
'erstunk their feet. 
Pros. This was well done, my bird. 



ACT IV, Sc. i] THE TEMPEST 137 

185 Thy shape invisible retain thou still. 

The trumpery in my house, go bring it 

hither, 
For stale to catch these thieves. 
Ari. , I go, I go. 

Exit. 
Pros. A devil, a born devil, on whose nature 
Nurture can never stick ; on whom my pains, 
190 Humanely taken, all, all lost, quite lost; 

And as with age his body uglier grows, 
So his mind cankers. I will plague them 

all, 
Even to roaring. 

Re-enter Ariel, loaden with glittering apparel, 
etc. 

Come, hang them on this line. 

\Prospero and Ariel remain, invisihle.] Enter 
Calihan, Stephano, and Trincido, all wet. 

Col. Pray you, tread softly, that the blind mole 

may not 

195 Hear a foot fall; we now are near bis cell. 

Ste. ]\Ionster, your fairy, which you say is a 

harmless fairy, has done little better than 

play'd the Jack with us. 



200 Ste. Do vou hear, monster? If I should take a 



138 THE TEMPEST [Act IV, Sc. i 

displeasure against you, look you, — 
Trin. Thou wert but a lost monster. 
Cal. Good my lord, give me thy favour still. 

Be patient, for the prize I'll bring thee to 

Shall hoodwink this mischance ; therefore 205 
speak softly. 

All's hush'd as midnight yet. 
Trin. Ay, but to lose our bottles in the pool, — 
Ste. There is not only disgrace and dishonour in 

that, monster, but an infinite loss. 
Trin. That's more to me than my wetting; yet 210 

this is your harmless fairy, monster ! 
Ste. I will fetch off my bottle, though I be o'er 

ears for my labour. 
Cal. Prithee, my king, be quiet. See'st thou 
here, 

This is the mouth ' the cell. No noise, and 215 
enter. 

Do that good mischief which may make this 
island 

Thine own for ever, and I, thy Caliban, 

For aye thy foot-licker. 
Ste. Give me thy hand. I do begin to have 

bloody thoughts. 220 

Trin. King Stephano! peer! worthy 

Stephano ! look what a wardrobe here is for 

thee ! 

Cal. Let it alone, thou fool; it is but trash. 



ACT IV, Sc. i] THE TEMPEST 139 

225 Trin. 0, ho, monster ! we know what belongs to a 
frippery. King Stephano ! 
Sfe. Put off that gown, Trincnlo ; by this hand, 

I'll have that gown. 
Trin. Thy Grace shall have it. 
230 Cal. The dropsy drown this fool 1 what do you 
mean 
To dote thus on such luggage? Let's alone 
And do the murder first. If he awake, 
From toe to crown he'll fill our skins with 

pinches, 
Make us strange stuff. « 
235 St^, Be you quiet, monster. Mistress line, is 
not this my jerkin? Now is the jerkin 
under the line. Now, jerkin, you are like 
to lose your hair and prove a bald jerkin. 
Trin. Do, do; we steal by line and level, an't 
240 like your Grace. 

Ste. I thank thee for that jest ; here's a garment 

for't. Wit shall not go unrewarded while 

I am king of this country. ''Steal by line 

and level" is an excellent pass of pate; 

245 there's another garment for't. 

Trin. Monster, come, put some lime upon your 

fingers, and away with the rest. 
Cal. 1 will have none on't. We shall lose our 
time, 
And all be turn'd to barnacles, or to apes 
250 With foreheads villanous low. 

Ste. Monster, lay-to your fingers. Help to bear 



140 THE TEMPEST [Act IV, Sc. i 

this away where my hogshead of wine is, or 
I'll turn you out of my kingdom; Go to, 
carry this. 

Trin. And this. 255 

Sie. Ay, and this. 

A noise of hunters heard. Enter divers Spirits, . 
in shape of dogs and hounds, hunting them 
about, Prospero and Ariel setting them on. 

Pros. Hey, Mountain, hey! 
Ari. Silver ! there it goes, Silver ! 
Pros. Fury, Fury! 'there, Tyrant, there! hark! 
hark! 
[Cal., Ste., and Trin. are driven out.] 
Go charge my goblins that they grind their 

joints 260 

With dry convulsions, shorten up their 

sinews 
With aged cramps, and more pinch-spotted 

make them 
Than pard or cat 0' mountain. 
Ari. Hark, they roar! 

Pros. Let them be hunted soundly. At this 
hour 
Lies at my mercy all mine enemies. 265 

Shortly shall all my labours end, and thou 
Shalt have the air at freedom. For a little 
Follow, and do me service. Exeunt. 



ACT FIFTH 

Scene I 
[Before Prosperous ceU.] 

Enter Prospero in his magic rohes, and Ariel. 

Pros. Now does my project gather to a head. 
My charms crack not ; my spirits obey ; and 

Time 
Goes upright with his carriage. How's the 
day? 
Ari. On the sixth hour ; at which time, my lord. 
You said our work should cease. 
5 Pros. I did say so, 

When first I rais'd the tempest. Say, my 
spirit, 
'' How fares the King and's followers? 
Ari. Confin'd together 

In the same fashion as you gave in charge, 
Just as you left them; all prisoners, sir, 
10 In the line-grove which weather-fends your 

cell; 
They cannot budge till your release. The 

King, 
His brother, and yours, abide all three dis- 
tracted. 
And the remainder mourning over them, 
Brimful of sorrow and dismay; but chiefly 
141 



142 THE TEMPEST [ActV, Sc.i 

Him that you term'd, sir, "The good old 

lord, Gonzalo,'' 15 

His tears run down his beard, like winter's 

drops 
From eaves of reeds. Your charm so 

strongly works 'em 
That if you now beheld them, your affec- 
tions- 
Would become tender. 
Pros. Dost thou think so, spirit ? 

Ari. Mine would, sir, were I human. 
Pros. And mine shall. 20 

Hast thou, which art but air, a touch, a feel- 
ing 
Of their afflictions, and shall not myself, 
One of their kind, that relish all as sharply 
Passion as they, be kindlier mov'd than thou 

art? 
Though with their high wrongs I am struck 

to the quick, 25 

Yet with my nobler reason 'gainst my fury 
Do I take part. The rarer action is 
In virtue than in vengeance. They being 

penitent. 
The sole drift of my purpose doth extend 
Not a frown further. Go release them, 

Ariel. 30 

My charms I'll break, their senses I'll re- 
store. 
And they shall be themselves. 



^AcT y, Sc. i] THE TEMPEST ^ 143 

-^ri. I'll fetch them, sir. 

Exit. 
Pros. Ye elves of hills, brooks, standing lakes, 
and groves, 

And ye that on the sands Avith printless foot 
35 Do chase the ebbing Neptune, and do fly 

him 

When he comes back; yoii demi-piippets 
that 

By moonshine do the green sour ringlets 
make. 

Whereof the ewe not bites; and you whose 
pastime 

Is to make midnight mushrooms, that re- 
joice 
40 To hear the solemn curfew ; by whose aid, 

Weak masters though ye be, I have be- 
dimm 'd 

The noontide sun, call'd forth the mutinous 
winds. 

And ^twixt the green sea and the azur'd 
vault 

Set roaring war ; to the dread rattling thun- 
der 
45 Have I given fire, and rifted Jove's stout 

oak 

AVith his own bolt; the strong-bas'd prom- 
ontory 

Have I made shake, and by the spurs 
pluck 'd up 



144 THE TEMPEST [Act V, Sc. i 

The pine and cedar ; graves at my command 
Have wak'd their sleepers, op'd, and let 'em 

forth 
By my so potent art. But this rough magic 5o 
I here abjure, and, when I have requir'd 
Some heavenly music, which even now I do, 
To work mine end upon their senses that 
This airy charm is for, I'll break my staff, 
Bury it certain fathoms in the earth, 55 

And deeper than did ever plummet sound 
I'll drown my book. Solemn music. 

Here enters Ariel before: then Alonso, with a 
frantic gesturey attended by Gonzalo; Sebas- 
tian and Antonio in like manner, attended by 
Adrian and Francisco. They all enter the 
circle which Prospero had made, and there 
stand charmed; ivhich Prospero observing, 
speaks. 

A solemn air and the best comforter 
To an unsettled fancy cure thy brains. 
Now useless, boil 'd within thy skull ! There 

stand, 60 

For you are spell-stopp 'd. 
Holy Gonzalo, honourable man. 
Mine eyes, even sociable to the shew of thine, 
Fall fellowly drops. The charm dissolves 

apace, 
' And as the morning steals upon the night, 65 
Melting the darkness, so their rising senses 



ACT V, Sc. i] THE TEMPEST 145 

Begin to chase the ignorant fumes that 
mantle 

Their clearer reason. good Gonzalo, 

My true preserver, and a loyal sir 
70 * To him thou follow 'st ! I will pay thy 
graces 

Home both in word and deed. Most cruelly 

Didst thou, Alonso, use me and my daugh- 
ter. 

Thy brother was a furtherer in the act. 

Thou art pinch 'd for't now, Sebastian. 
Flesh and blood, 
75 You, brother mine, that entertain 'd ambi- 

tion, 

Expeird remorse and nature, whom, with 
Sebastian, 

Whose inward pinches therefore are most 
strong, 

"Would here have kill'd your king, I do for- 
give thee, 

Unnatural though thou art. Their under- 
standing 
80 Begins to swell, and the approaching tide 

Will shortly fill the reasonable shore 

That now lies foul and muddy. Not one of 
them 

That yet looks on me, or would know me! 
Ariel, 

Fetch me the hat and rapier in my cell; 
85 I will disease me, and myself present 



146 THE TEMPEST [Act V, Sc i 

As I was sometime Milan. Quickly, spirit; 
Thou slialt ere long be free. 
Ariel sings and helps to attire him. 

Ari. ^^ Where the bee sucks, there suck I. 
In a cowslip's bell I lie; 
There I couch when owls do cr}^ 90 

On the bat's ba<?k I do fly 
After summer merrily. 
Merrily, merrily shall I live now 
Under the blossom that hangs on the 
bough. ' ' 
Pros. Why, that's my dainty Ariel! I shall 

^liss thee ; 95 

But yet thou shalt have freedom. So, so, so. 
To the King's ship, invisible as thou art; 
There shalt thou find the mariners asleep 
Under the hatches. The master and the 

boatswain 
Being awake, enforce them to this place, 100 
And presently, I prithee. 
Ari. I drink the air before me, and return 

Or ere your pulse twice beat. Exit. 

Gon. All torment, trouble, wonder, and amaze- 
ment 
Inhabits here. Some heavenly powder guide us 105 
Out of this fearful country! 
Pros. , Behold, sir King, 

The wronged Duke of Milan, Prospero. 
For more assurance that a living prince 



ActV, Sc. i] THE TEMPEST 147 

Does now speak to thee, I embrace thy body ; 
110 And to thee and thy company I bid 

A hearty welcome. 
Alo7i. Whe 'er thou be 'st he or no, 

Or some enchanted trifle to abuse me, 
As late I have been, I not know. Thy pulse 
Beats as of flesh and blood; and, since I 
saw thee, 
115 The affliction of my mind amends, wdth 

which, 
I fear, a madness held me. This must crave, 
An if this be at all, a most strange story. 
Thy dukedom I resign and do entreat 
Thou pardon me my wrongs. But how 

should Prospero 
Be living and be here ? 
120 Pros. First, noble friend, 

Let me embrace thine age, whose honour 

cannot 
Be measur'd or confin'd. 
Gon. Whether this be 

Or be not, I '11 not swear. 
Pros. You do yet taste 

Some subtleties o' the isle, that will not let 
ft you 

125 Believe things certain. Welcome, my 

friends all! 
[Aside to 8 eh. and Ant.l But you. my brace 
of lords, were I so minded, 



148 THE TEMPEST [Act V, Sc. i 

I here could pluck his Highness' frown 

upon you 
And justify you traitors. At this time 
I will tell no tales. 
8 eh. [Aside.] The devil speaks in him. 

Pros. No. 

For you, most wicked sir, whom to call 

brother iso 

"Would even infect my mouth, I do forgive 
Thy rankest fault ; all of them ; and require 
My dukedom of thee, which perforce, I 

know. 
Thou must restore. 
Alon. If thou be'st Prospero, 

Give us particulars of thy preservation, iss 
How thou hast met us here, whom three 

hours since 
Were wreck 'd upon this shore, where I have 

lost — 
How sharp the point of this remembrance 

is!— 
My dear son Ferdinand. 
Pros. ■ " I am woe fpr't, sir. 

Alon. Irreparable is the loss, and Patience i40 

Says it is past her cure. 
Pros. I rather thin^ 

You have not sought her help, of whose soft 

grace 
For the like loss I have her sovereign aid 
And rest myself content. 



ActV, Sc.i] THE TEMPEST 149 

Alon. You the like loss ! 

145 Pros. As great to me as late ; and, supportable 

To make the dear loss, have I means much 

weaker 
Than you may call to comfort you, for I 
Have lost my daughter. 
Alo7i. A daughter? 

heavens, that they were living both in 
Naples, 
150 The King and Queen there ! That they 

were, I wish 
Myself were mudded in that oozy bed 
Where my son lies. When did you lose 
your daughter? 
Pros. In this last tempest. I perceive, these 
lords 
At this encounter do so much admire 
155 That they devour their reason and scarce 

think 
Their eyes do offices of truth, their words 
Are natural breath ; but, howsoe 'er you have 
Been justled from your senses, know for 

certain 
That I am Prospero and that very duke 
160 Which was thrust forth of Milan, who most 

strangely 
Upon this shore, where you were wreck 'd, 

was landed. 
To be the lord on't. No more yet of this; 
For 'tis a chronicle of day by day, 



150 THE TEMPEST [Act V, Sc. i 

Not a relation for a breakfast nor 
Befitting this first meeting. Welcome, sir ; 165 
This cell's my court. Here have I few at- 
tendants, 
And subjects none abroad. Pray you, look 

in. 
My dukedom since you have given me again, 
I will requite 3^ou with as good a thing ; 
At least bring forth a wonder, to content ye 170 
As much as me my dukedom. 

Here Prospero discovers Ferdinand and Miranda 
playing at chess. 

Mir. Sweet lord, you play me false. 

Fer. No, my dearest love, 

I would not for the world. 
Mir. Yes, for a score of kingdoms you should 
wrangle. 

And I would call it fair play. 
Alon. If this prove 175 

A vision of the island, one dear son ' 

Shall I twice lose. 
Sel). A most high miracle! 

Fer. Though the seas threaten, they are merci- 
ful; 

I have curs'd them without cause. 

[Kneels.] 
Alon. Now all the blessings 

Of a glad father compass thee about! iso 



Act V, Sc. i] THE TEMPEST 151 

Arise, and say how thou cam'st here. 
Mir. 0, wonder! 

How many goodly creatures are there here ! 
How beauteous mankind is! brave new 

world, 
That has such people in 't ! 
Pros. 'Tis new to thee. 

185 Alon. "What is this maid with whom thou Avast 
at play? 
Your eld'st acquaintance cannot be three 

hours. 
Is she the goddess that hath sever 'd us, 
And brought us thus together? 
Fer. Sir, she is mortal, 

But by immortal Providence she^s mine. 
190 I chose her when I could not ask my father 

For his advice, nor thought I had one. She 
Is daughter to this famous Duke of Milan, 
Of whom so often I have heard renown, 
But never saw before ; of whom I have 
195 Receiv'd a second life; and second father 

This lady makes him to me. 
, Alon. I am hers. 

But, O^ how oddly will it sound that I 
Must ask my child forgiveness! 
Pros. There, sir, stop. 

Let us not burden our remembrances with 
200 A heaviness that's gone. 

Gon. I have inly wept, 



152 THE TEMPEST [Act V, Sc. i 

Or should have spoke ere this. Look down, 
you gods, 

And on this couple drop a blessed crown! 

For it is you that have chalk 'd forth the 
way \ 

Which brought us hither. 
Alon. . I say, Amen, Gonzalo ! 

Gon. Was Milan thrust from Milan, that his 205 
issue 

Should become Kings of Naples? 0, re- 
joice 

Beyond a common joy, and set it down 

With gold on lasting pillars: in one voyage 

Did Claribel her husband find at Tunis, 

And Ferdinand, her brother, found a wife 210 

Where he himself was lost, Prospero his 
dukedom 

In a poor isle, and all of us ourselves 

When no man was his own. 
Alon. [To Fer. and Mir.] Give me your hands. 

Let grief and sorrow still embrace his heart 

That doth not wish you joy! 
Gon. Be it so ! Amen ! 215 

Re-enter Ariel, with the Master and Boatswain 
amazedly following. 

0, look, sir, look, sir ! here is more of us. 
I prophesi'd, if a gallows were on land, 
This fellow could not drown. Now, blas- 
phemy, 



\ 



ActV, Sc. 1] THE TEMPEST 153 

That swear 'st grace o'erboard, not an oath 
on shore? 
220 Hast thou no mouth by land? What is the 

news ? 
Boats. The best news is, that we have safely 
found 
Our king and company ; the next, our ship — 
Which, but three glasses since, we gave out 

split — 
Is tight and yare and bravely rigg'd as 
when 
225 We first put out to sea. 

Ari. [Aside to Pros.] Sir, all this service 

Have I done since I went. 
Pros. [Aside to Ari.] My tricksy spirit! 

Alon. These are not natural events; they 
strengthen 
From strange to stranger. Say, how came 
you hither? 
Boats. If I did think, sir, I were well awake, 
230 I'd strive to tell you. We w^ere dead of 

sleep. 
And — how we know not — all clapp'd under 

hatches ; 
Where but even now with strange and sev- 
eral noises 
Of roaring, shrieking, how^ling, jingling 

chains, 
And moe diversity of sounds, all horrible, 
235 We were awak'd; straightway, at liberty; 



154 THE TEMPEST [ActV, Sc.i 

"Where we, in all her trim, freshly beheld 
Our royal, good, and gallant ship, our mas- 
ter 
Cap 'ring to eye her. On a trice, so please 

you, 
Even in a dream, were we divided from 

them 
And were brought moping hither. 
Ari. [Aside to Pros.] Was't well done? 240 

Pros. [Aside to Ari.] Bravely, my diligence. 

Thou shalt be free. 
Alon. This is as strange a maze as e'er men 

trod ; 
And there is in this business more than 

nature 
Was ever conduct of. Some 'oracle 
Must rectify our knowledge. 
Pros. Sir, my liege, 245 

Do not infest your mind with beating on 
The strangeness of this business. At pick'd 

leisure. 
Which shall be shortly, single I'll resolve 

you, 
Which to you shall seem probable, of every 
These happen 'd accidents; till when, be 

cheerful 250 

And think of each thing well. [Aside to 

Ari.] Come hither, spirit. 
Set -Caliban and his companions free ; 



, Act V, Sc. i] THE TEMPEST 155 

Untie the spell. [Exit Ariel.] How fares 

iii}^ gracious sir? 
There are yet missing of your company 
255 8ome few odd lads that you remember not'. 

Be-enter Ariel, elriving in Caliban, StepJiano, 
anel Trinculo, in their stolen apparel. 

/S7e. Every man shift for all the rest, and let no 

man take care for himself; for all is but 

fortune. Coragio, bully-monster, coragio ! 

Trin. If these be true spies which I wear in my 

260 head,, here's a goodly sight. 

Cal. Setebos, these be brave spirits indeed! 
How^ fine my master is! I am afraid 
He will chastise me. 
Set). Ha, ha! 

What things are these, my lord Antonio? 
265 Will money buy 'em? 

Ant. Very like; one of them 

Is a plain fish, and, no doubt, marketable. 

Pros. Mark but the badges of these men, my 

lords. 

Then say if they be true. This mis-shapen 

knave, 
His mother was a witch, and one so strong 
270 That could control the moon, make flows and 

ebbs 
And deal in her command without her 
power. 



156 THE TEMPEST [Act V, Sc. i 

These three have robb 'd me ; and this demi- 

devil — 
For he's a bastard one — had plotted with 

them 
To take my life. Two of these fellows you 
Must know and own; this thing of dark- 
ness I 275 
Acknowledge mine. 
Cal. I shall be pinch 'd to death. 
Alon. Is not this Stephano, my drunken butler ? 
8 eh. He is drunk now. Where had he wine? 
Alon. And Trinculo is reeling ripe. Where 
should they 
Find this grand liquor that hath gilded 

'em ? 280 

How cam'st thou in this pickle? 
"^rin. I have been in such a pickle since I saw 
you last that, I fear me, will never out of 
my bones. I shall not fear fly-blowing. 
Seh. Why, how now, Stephano ! 285 

8te. 0, touch me not ; I am not Stephano, but a 

cramp. 
Pros. You'd be king o' the isle, sirrah? 
8te. I should have been a sore one then. 
Alon. This is a strange thing as e'er I look'd on. 

Pointing to Caliban. 
Pros. He is as disproportion 'd in his manners 290 
As in his shape. Go, sirrah, to my cell ; 
Take with you your companions. As you 
look 



Act V, Sc. i] THE TEMPEST 157 

To have my pardon, trim it handsomely. 
Cal. Ay, that I will; and 111 be wise hereafter 
295 And seek for grace. What a thrice-doubled 

ass 
Was I, to take this drunkard for a god 
And worship this dull fool ! \ 

Pros. Go to ; away ! 

Alon. Hence, and bestow your luggage where 

you found it. 
Seb. Or stole it, rather. 

[Exeunt Cal., Ste., and Trin.] 

300 Pros. Sir, I invite your Highness and your train 

To my poor cell, where you shall take your 

rest 
For this one night ; which, part of it. I '11 

waste 
With such discourse as, I not doubt, shall 

make it 
Go quick away, — the story of my life 
305 And the particular accidents gone by 

Since I came to this isle. And in the morn 
I '11 bring you to your ship and so to Naples, 
Wliere I have hope to see the nuptial 
» Of these our dear-belov'd solemnized; 
310 And thence retire me to my Milan, where 

Every third thought shall be my grave. 
Alon. I long 

To hear the story of your life, which must 
Take the ear strangely: 
Pros. , I'll deliver all; 



158 THE TEMPEST [Act V, Sc. i 

And promise you calm seas, auspicious gales, 
And sail so expeditious that shall, catch sis 
Your royal fleet far off. [Aside to Ari.] My 

Ariel, chick, 
That is thy charge. Then to the elements 
Be free, and fare thou well ! . Please you, 

draw near. Exeunt omnes. 



EPILOGUE 

Spoken by Prospero 

Now my charms are all o'erthrown, 
And what strength I have's mine own. 
Which is most faint. Now, 'tis true, 
I must be here confin'd by you, 

5 Or sent to Naples. Let me not. 

Since I have my dukedom got 
And pardon 'd the deceiver, dwell 
In this bare island by j^our spell; 
But release me from my bands 

10 With the help of your good hands. 

Gentle breath of yours my sails 
Must fill, or else my project fails. 
Which was to please. Now I want 
Spirits to enforce, art to enchant, 

15 And my ending is despair, 

Unless I be reliev'd by prayer, 
Which pierces so that it assaults 
Mercy itself and frees all faults. 
As you from crimes would pardon 'd be, 

20 Let your indulgence set me free. Exit 



159 



NOTES. 
ABBREVIATIONS. 

Fi. — The First Folio edition of Shakspere, 162.3. 

Luce. — The Tempest, edited by Morton Luce, London and 
Indianapolis, 1901. 

Liddell. — The Tempest, edited by Mark Liddell in "The 
Elizabethan Shakspere." Now York, 1003. 

Schmidt. — Shal-espeare-Lexicoir, by A. Schmidt, 1886. 

Yav. — The Tempest, edited by H. H. Furness in "A New 
Variorum Shakespeare,"' I'hiladelphia, 1892. 

Wright. — The Tempest, edited by W. A. Wright in Claren- 
don Press Series, Oxford, 1889. 

DRAMATIS PERSONAE. 

Caliban. Perhaps an anagram for "cannibal." Ariel oc- 
curs in Isaiah XXIX., 1-7 : also in late Hebrew literature as 
a prince of angels, and in medieval Christian fiction as a 
spirit of the air, guardian of innocence. But cf. I. ii. 
190-192, and note. 

ACT I. 

I. i. Nothing shows Shakspere's mastery of dramatic^ art 
more clearly than the opening scenes of his plays. The 
functions of an opening scene are properly, first, to excite 
the interest of the audience without delay ; second, to intro- 
duce some of the principal personages and give information 
about them. The first object is here attained by a rush of 
exciting action, and the interest is carried beyond the scene, 
the audience being left in suspense as to the fate of ship, 
crew, and passengers. 

Note also how the audience is surrounded at once by an 
atmosphere of the sea, of adventure, of unknown lands, per- 
haps even of enchantment. Shakspere is fond of striking 
thus at the start the key-note of the play. 

I. i. The knowledge of seamanship displayed by Shak- 
spere in this scene has been highly praised by nautical critics. 

I. i. 1. Stage-dir. Enter . . . Boatswain. Nautical pro- 
nunciation, bo-s'n. The spelling Boson occurs later in the 
text of this scene in the First Folio. 

I. i. 3. Good. The Master does not mean that the cheer is 
161 



162 :nOtes 

good. He simply expresses satisfaction that the boatswain 
Is at hand. 

I i. 4, Yarely. Readily, actively, briskly. Cf. adjective 
form in 1. 7. 

1. i. 7. TaTce in the topsail. The first move to relieve the 
ship. 

I. i. 8, 9, Bloio .... uind. Addressed to the storm. 

I. i. 9. Room. Sea-room, i. e., if there is enough open 
sea for the ship safely to maneuver in. 

I. i. 17. Oood. Good fellow. See liitrod., p. 43. 

I. i. 18. Cares. For grammatical form, see Introd., p. 45. 

I. i. 26. The present. The present moment. 

I. i. 33. Methinks. Originally a dative 7ne, with n:i im- 
personal verb meaning "seems." 

I. 1. 34. Complexion. External appearance generally. The 
reference is to the proverb, "He that is born to be hanged 
will never be drowned." 

I. i. 36. Rope . . cable. May the halter with which he 
is destined to be hanged serve as a cable to anchor the ship. 

I. i. 37. Advantage. Verb. 

I. i. 40. Bring her to try wi' the main-course. Endeavor, 
with the main-sail, to lay the ship as close to the wind as 
possible ; an attempt, by a tacking operation, to arrest the 
leeward drift of the ship (against the shore, where the danger 
lay) and propel her out to sea. 

I.*i. 43. Office. Here, the work of the sailors. 

I. 1. 46. Pox. A common curse. 0'. On. 

I. i. 47. Inchariiahle. Unfeeling. 

I. i. 54. Lay her a-liold. The ship, in spite of the last 
operation drifting nearer and nearer the shore, is brought 
about on the other tack, command given to lay her again as 
close to the wind as possible, and, one sail having proved 
insufficient, to set two. 

1.1.58. Must our mouths he c<.l<l? Must we die? 

T. i. 61. Merely. Absolutely, quite. 

I. i. 62. Wide-chapp'd. Literally, with broad jaws ; per- 
haps, figuratively, lotid-mouthed. 

1. i. 66. Glut. Swallow. 

I. ii 67-9. Mercy on ns, etc. These cries may be meant to 
constitute the "confuted noise within," though in Fx they 
are printed, as here, in Gonzalo's speech. 

I. i. 71. Furlong was a square as well as linear measure. 

I. i. 72-73. Long heath, hrown furze. So Fi. Hanmer 
emended to "ling, heath, broom, furze," and he has been 
followed by many editors. 



iXOTES , 163 

I. ii. This scene looks backward and forward. Up to the 
entrance ui Ferdinand, it is largel^^ exposition of the past. 
Note the naturalness with which the exposition is introduced, 
Prospero finding it necessary to reveal to Miranda her story 
at precisely this point in her life : note also the skilful 
breaking-up of his narrative into dialogue. 

In addition to this expository service, the scene forecasts 
the action of the play, in particular the chief di-amatic con- 
flict, that between Trospero and his enemies. The end of 
the scene sets in motion the chief of the sub-plots — the love- 
story of Ferdinand and iliranda. 

I. ii. 1. Your. Note that Miranda addresses her father 
by 1J0II, and he replies to her by thou. The use of the two 
pronouns in the older language was very similar to that of 
,s'/e and du in modern German : you w\as th(^ pronoun of 
respect, thou of affection. However, this distinction was in 
process of decay in Elizabethan times. 

I. ii. 1. " Art. Magic. 

I. Ii. 3. Stinking pitch. The pitch is aflame ; hence the 
odor. 

I. ii. 4. Welkin's cheek, i. e., the surface of the sky. 

I. ii. 6. Brave. Fine, splendid, beautiful. 

I. ii. 7. Who for "which." Cf. Introd., p. 44. 

I. ii. 11. Or ere. "Or" alone is sometimes used in the 
sense of "before." It is, in fact, identical in origin with 
"ere." The two together, as h(>re. form a common Eliza- 
bethan phrase, in which the second merely emphasizes the 
first. 

1. ii. 13. Frnughting souls. Souls who composed her 
freight. 

I. ii. 14. Amazement. A much stronger word than today. 
Overwhelming astonishment, mixed with feelings of horror 
and teii-or. Piteous. Full of pity. 

I. ii. 19. More better. See Introd., p. 43. 

I. ii. 20. Full Very. 

I. ii. 21. No greater than "master of a full poor cell." 

I. ii. 22. Meddle. Probably = mix, mingle. 

I. ii. 25. Lie there, my art. Prospero's robe is both an 
instrument and a symbol of his magic power. 

T. ii. 27. Virtne. Essence, substance. 

I. ii. 2f>. Soul. He was going to add "lost," but instead 
he breaks the construction, and ends the sentence in a differ- 
ent fashion. An anacoluthon. 

I. ii. 30. Perdition. Loss. 



164 NOTES 

I ii. iil. Betid. Betided, happened. The usual older form 
of the past participle. 

I. ii. 32. Which . . . cry Referring to crentxire. Which 
. . sink. Referring to vessel. For a similar con.struction, 
of. Macbeth, I. iii. 60, 61 : 

"Speak then to me, who neither beg nor fear 
Your favours nor your hate.'' 

I. ii. 35. Bootless inquisition. Profitless inquiry. 

I. ii. 41. Out. Fully. Cf. IV. i. 101, "And be a boy right 
out." 

I. ii. 44. Kept. Intransitive use. Remained, abided 

I. ii. 53, For meter of this line, see Introd., p. 40. 

I. ii. 56. Piece. Perfect specimen, masterpiece. 

I. ii. 59. And princess. Many editors emend "and" 
to "a." 

I. ii. 63. Holp. P. p., for an older "holpeu." "Help" was 
originally a strong or irregular verb. See Introd., p. 45. 

I. ii. 64. Teen. Trouble, anxiety. 

I. ii. 65. From. The emphatic from, very common in 
Shakspere, denoting separation, not origin. Away from, 
out of. 

I. ii. 66 ff. Note the anacolutha, or breaks in construc- 
tion, in Prospero's speech. Luce remarks, "The broken sen- 
tences and rapid transitions partly express emotion and 
partly the difficulty of making Miranda understand circum- 
stances new to her experience. 

I. ii. 70. Manage. Management, administration. 

I. ii. 71. Bigyiories. States under a Signior or Lord : prin- 
cipalities : referring to tlie Ghibelline states of northern 
Italy, whose princes acknowledged obedience to the Holy 
Roman Emperor, as opposed to the Guelf states, who looked 
for leadership to the Pope. 

T. ii. 77. Secret. Mysterious, occult ; meaning here, of 
course, magic. 

I. ii. 78. Attend. Pay attention to. 

L ii. 80. Who for "whom." See Introd., p. 43. 

I. ii. 81. To trash for overtopping. "To trash" was to 
impede the speed of a fleet dog ; hence, to restrain those who 
sought to "overtop," i. e., to rise too high in the state. 
"Overtop" does not appear as a technical hunting term. 
Some editors regard it as a figure from gardening In this 
case, either there is a mixture of metaphors, or else "trash" 
means "lop," "cut down," a sense which does not seem to 
occur elsewhere in Elizabethan English. 

I. ii. 83. Prospero's speeches are full of swift transitions. 



NOTES 165 

He first thinks .of "key" in the metaphorical sense which we 
employ in "'keys of office." This suggests the key with which 
one tunes musical instruments. 
I. ii. 85. That. So that. 

I. ii. 87. Verdure. Sap, life, vigor. In the inaccurate 
natural history of Shakspere's time the ivy was regarded 
as destroying trees in this manner. On't. Of it, 

I. ii. 89, 90. Dedicated to closeness. Devoted to seclusion. 

I. ii. 91. But hy being so retir'd. Except for the fact 
that my studies compelled a life of retirement. 

I. ii. 92. O'er-priz'd all popular rate. Was of more value 
than the esteem of the vulgar. 

I. ii. 94. A. good parent. "Alluding to the observation 
that a father above the common rate of men has commonly a 
son below it." — Johnson. 

I. ii. 97. Sans. Witliout This French preposition had 
considerable use in Elizabethan English. Lorded. Made a lord. 

I. ii. 98. Revenue. Accented on second syllable. See 
Introd., p. 42. 

I. ii. 99-102. Like one who having into truth, etc. The 
simplest way to read this difficult passage is to consider 
"into" as equivalent to "unto," and "it" as an anticipatory 
reference to "lie." "Like one w^ho having made his memory 
such a sinner against truth as to credit his own lie by the 
telling of it." 

I. ii. 103. Out o' the suhstitution. In consequence of 
acting as my deputy. 

I. ii. 109. Ahsolute Milan. Absolutely, completely Duke 
of Milan. 

I. ii. 110. Temporal royalties. Practical powers of royalty. 

I. ii. 112. Dry. Thirsty. 

I. ii. 117. Event. Issue, consequences of the compact. 

I. ii. 119. But. Otherwise than. 

I. ii. 123. In lieu o' the premises. In return for the things 
stipulated. 

I. ii. 125. Presently. At once. 

I. ii. 131. Ministers. Agents. 

I. ii. 134. Cry it o'er. "It" is used impersonally, as in 
"to fight it out." Hint. Occasion, cause, motive for action. 
Distinguish carefully between this customary Elizabethan 
sense and the modern usage. 

I. ii. 138. Impertinent. Not pertinent ; irrelevant. 

I. ii. 139. Well demanded, tvench. "A very natural ques- 
tion, dear." (Luce.) Cf. French demander, to ask. Wench 
was in familiar but not vulgar use, and often expressed, as 
here, affection. 



166 ' NOTES 

I. ii. 140. Provokes. Calls forth, suggests. 

I. ii. 144. In few. In few words ; in short. 

1. 11. 146. Butt. A large cask, especially for wine. See 
II. ii. 125. Perhaps here used contemptuously for the miser- 
able hulk on which Prospero and Miranda were set, "a mere 
tub of a boat." Some think, however, this is a genuine 
nautical term, now lost to us, for some type of boat. 

I. ii. 148. Hare. A sudden shift to the vivid historical 
present of narration. It may be a misprint in Fi for had. 
Hoist. Continuation of the historical present, or a past tense, 
either (1) for holsecl, -past of the now obsolete verb hoise, to 
carry off, to make away with, to heave away; or (2) con- 
tracted past of hoist. 

I. ii. 151. Did us Mt loving tvrong. All the wrong they 
did us was to express their pity by sighing in sympathy 
with us. 

I. ii. 152. Cheriihin. CheruMm (of which this is a by- 
form, derived through the French or Italian) is a Hebrew 
plural, misunderstood as a singular, and often used as such. 
An English plural, cheruMns, was even formed from it. 

I. ii. 155. Deck'd. Covered. Others believe it a northern 
dialect word, usually spelled "deg(g)" or "dag(g)," meaning 
"to sprinkle clothes." 

I. ii. 156. Which. Referring to smile and fortitude in 
11. 153, 154. 

I. ii. 157. An undergoing stomach. Courage to endure. 

I. ii. 162. Who. Either a nominative absolute, or another 
case of anacoluthon. 

I. ii. 165. Steaded much. ' Been of much use. Oentleness. 
Kindness. 

I. ii. 169. Xotr I arise. Prospero here assumes his magic 
garment in order to cast a sleep upon Miranda (see I. ii. 
185-6). 

I. ii. 172. Profit. An infinitive after made; or perhaps a 
noun, in which case can (1. 173) means "have acquired." 

I. ii. 173. Princess. A plural. See Introd., p. 43. 

I. ii. 1 79. yoir my dear lady. Who is my auspicious 
mistress now (whereas formerly she was ungracious). 

I. ii. 181. Zenith. The point in the heavens directly over- 
head, where planets were supposed to be at the height of their 
power over human destiny, according to the old astrology. 
"The climax of my fortunes depends upon my taking advan- 
tage of this auspicious moment." 

I. ii. 182. Inflnenre. Another astrological term. The power 
exercised upon Prospero by his "auspicious star." 



NOTES 167 

I. ii. 1S3. Oniif. Nogleot. Cf. with this whole passage 
the celebrated words of Brutus in Julius Caesar, IV. iii. 
218-221 : 

"There is a tide in the affairs of men, 
Which, taken at the flood, leads on to fortune ; 
Omitted, all the voyage of their life 
Is bound in shallows and in miseries." 

I. ii. 185. Dulness. Drgwsiness. 

I. ii. 187. Come away. Come here, come to me. 

I. ii. 180. Grove. Reverend. 

I. ii. 190-1. Be't to fly, etc. Note that the references 
here and in 1. 255 show that Ariel was at home in all four 
elements. See note to Dramatis Personae, "Ariel." 

I. ii. 193. Quality. Peculiar and characteristic power. 
Some interpret as "confederates, profession." 

I. ii. 194. To point. In every detail, to the very letter. 

I. ii. 198. / flam'd amazement. Ariel's description corre- 
sponds to the natural phenomenon known as "St. Elmo's 
fire," a light which is sometimes seen to play about the masts 
of a ship during a thunderstorm. It is said to be especially 
common in the Mediterranean. 

I. ii. 200. Distinctly. In different and distinct fires ; 
separately. 

I. ii. 203-4. Crack was a much stronger word than today, 
meaning a loud report. The figure in the passage is of the 
heavens bombarding the sea. 

I. ii. 206. Trident. The three-pronged scepter wielded by 
Neptune (identified with the Greek Poseidon), the classical 
god of the sea. Brave. Fine, splendid. See I. ii. 6, note. 

I. ii. 207. Constant. Self-possessed. Coil. Turmoil, con- 
fusion.' 

I. ii. 209. Of the mad. Such as madmen feel. 

I. ii. 210. Tricks of desperation. For idiom, see Introd., 
pp. 42, 43. 

I. ii. 213. Up-staring. Standing on end. 

I. ii. 218. Sustaining. Probably, that bore them up in the 
water. Cf. Hamlet, IV. vii. 176-7 : 

"Her clothes spread wide ; 
And, mermaid-llke, a while they bore her up :" 

I. ii. 222. Cooling. Really a verbal noun, not a participle, 
hence the "of" following. Verbal nouns in this construction 
.formerly had a preposition preceding, "a," the worn-down 
form of an older "on," meaning "in the act of." Cf. "a bat- 
fowling" (II. i. 189). 



168 NOTES 

I. ii. 223. Odd angle. Out-of-the-way corner. 

I. ii. 224 TTiis sad knot. Folding his arms with a melan- 
choly gesture. 

I. ii, 226. Safely. For grammar, see Introd., p. 47. 

I ii. 228. Deic was regarded as efficacious in magic. See 
11. 821-4. Gathered at midnight, it '^ould be especially potent. 

I ii. 229. Still-vejc'd. Constantly agitated (by storms). 
Bermoothes. The Bermudas. One of the several variant 
spellings of the word. Slow's Annals (ed. Howe, 1631, p. 
1020) speaks of "that dreadfull coast of the Bermodes, which 
Ilandfs] were of all Nations, said and supposed to bee in- 
chanted and inhabited with witches, and deuills, which grew 
by reason of accustomed monstrous Thunder, storme, _and 
tempest, neere vnto those Hands, also for that the who.}e 
coast is so wonderous dangerous, of Rockes, that few can 
approach them, but with vnspeakable hazard of ship-wrack.'" 
(Wright.) 

I. ii. 231. With a charm, etc. The mariners are asleep 
from the effects of the charm and the weariness from the 
labors they have suffered. 

I. ii. 234. Float. A now obsolete word for flood, wave, sea. 

I. ii. 240. Glasses. Presumably hour-glasses, though at 
sea the glass is usually a half-hour ; but see V. i. 223, and 
note. 

I, ii. 242. Is there more toil? Ariel's spirit of rebellion, 
and the opposition which it meets from Prospero, are very 
skillfully made by Shakspere the occasion for an account of 
Ariel, Sycorax, Caliban, and their relations to Prospero. 
Pains. Tasks to perform, labors. 

I. ii. 243. Rememher. For transitive use, see Introd., 
p. 46. 

I. ii. 244. Me. Ethical dative. See Introd., p. 44, and 
cf. 11. 250 and 255, below. Moody. Sulky. The spirits 
employed by magicians as their servants or familiars are 
represented in medieval magic-lore as chafing under the 
restrictions thus imposed and longing ever for freedom. In- 
deed, only by the most powerful charms could they customarily 
be forced to yield obedience. Ariel does not appear to rest 
under any spell of Prospero's, but he is true to the nature of 
his kind in forgetting his obligations and rebelling under his 
servitude ; hence the harshness which Prospero finds it 
necessary to use. 

T. ii. 250. Bate me a full year. Abate, reduce (my time of 
servitude by) a full year. 

I. ii. 252. Ooze. Soft mud at the bottom of a body of 
water. 



xOTrs 169 

I. ii. 2riS. Enrij. Malice. A common Elizabrthan mcMiiiim'. 

I. ii. 261. Argier. Old name for Algiers. 

I. ii. 266. One thing she did Terhaps a reference to a 
detail in Shakspere's undiscovered source. 

I. ii. 269. Blue-ey'd. With dark circles about the eyes. 
Cf. As You Like It (III. ii. 393), among the marks of a lover, 
"a blue eye and sunken." 

I. ii. 273. Abhorr'd. To be abhorred, abhorrent. 

I. ii. 274. Hests. Commands. Behest is from the same 
root plus a common prefix. 

I. ii. 280. Strike. Used of the sound of .the wheels striking 
the water. 

I. ii. 281-2. Litter. Whelp. Note the use of words prop- 
erly applicable to beasts. 

I. ii. 295. His. For use instead of modern its, see Introd., 
p. 43. 

I. ii. 297. Correspondent. Agreeing, hence obedient. 

I. ii. 298. Spiriting. Spelled in Fi "spryting," and doubt- 
less to be so pronounced. "Spirit" in the meter of this play 
seems commonly monosyllabic. Gently. "Without or grudge 
or grumblings" ; willingly. 

I. ii. 307. Heaviness. Drowsiness. The sleep has really 
been produced by Prospero's magic. See 11, 185, 186. 

I. ii. 311. Miss. Do without. 

I. ii. 313. Profit. Help, are of use to. • 

I. ii. 319. When? An expression of impatience. 

I, ii. 317. Quaint. Fine, dainty. 

I. ii. 321. Wicked. Baneful. Dew. See note on I. ii. 228. 

I. ii. 322. Raven's feather. The raven was a bird of ill- 
omen. 

I. ii. 323. South-west. In England, south and south-west 
winds were conceived as bringing, with their heat and fogs, 
disease and even pestilence. 

I. ii. 326. Urchins. Originally the word meant hedge-hogs : 
then elves who might assiame the form of hedge-hogs. The 
latter is the sense here. 

I. ii. 327. For that vast, etc. During that desolate period 
of the night in which they may work. 

I. ii. 328. Exercise. Practice their torments. 

I. ii. 334. Water with berries. Possibly this was suggested 
by a passage in one of Shakspere's sources. Strachey's True 
Reportory (see Introd., p. 36). Strachey says the Bermudas 
were "full of Shawes of goodly Cedar. . .the Berries whereof, 
our men seething, straining, and letting stand some three or 
foure dales, made a kind of pleasant drinke." 



170 NOTES 

I. ii. 338. Brine-pits. "Salt springs with salt deposits." 
(Luce.) 

I. ii. 340. Toads, beetles] hats. Animals considered allied 
to llie powers of evil, and constantly associated with witch- 
craft. Cf. the witches' charm in Macbeth, IV. i. 

I. ii. 342. Sty. Pen, confine. ■ 

I. ii. 346. Human care. Humane care, kindness. Modern 
English has developed two words, "human" and "humane." 
The one word had both sets of meanings in Elizabethan 
English. 

I. ii. 351-362. Abhorred slave, etc. Fi gives this speech to 
Miranda. 

I. ii. 352. ^Yhich. Who. See Introd., p. 44. 

I. ii. 353. Capable. Apt to receive impressions. 

1.11.358-. Face. Hereditary nature. 

I. ii. 363. On't. "Of if or "from it." See Introd., p. 47. 

I. ii. 364. Red plague. Old medical books speak of three 
kinds of plague sores — red, yellow, and black. Rid. Destroy. 

I. ii. 365. Learning. "Learn" for "teach," now a vulgar- 
ism, was in good use in the time of Shakspere. Hag-seed. 
Offspring of a hag. 

I. ii, 36,6. Thoii'rt best. An old impersonal construction, 
"(To) thee (it) were best," misunderstood and made over, a 
nominative pronoun ("thou") replacing the old dative. 

I. ii. 367. Malice. Malignant thing. Abstract for concrete, 

I. ii. 369. Old cramps. Cramps such as old people suffer. 
Cf. "aged cramps," IV. i. 262. Some editors think that "old" 
here, as often, has simply an intensive force, as in the modern 
children's "mean old thing," etc. 

I. ii. 370. Aches. Two syllables. This word, when a noun, 
was pronounced like the name of the letter "h," "aitches." 

I. ii. 373> Setebos. Mentioned in Eden's History of Trav- 
aile, 1577, in a translated account of the voyages of Magellan, 
as the chief deity of the Patagonians, Shakspere may have 
seen this work. See Introd., p, 37. 

1. ii. 375. Stage-dir. Invisible to Ferdinand, but not to 
the audience. He was perhaps dressed in some garment 
suggesting invisibility. Cf. 1. 302 above. 

I. ii. 379. Whist. Silent. Probably an absolute construc- 
tion, "the wild waves being silent." This interpretation 
implies that the preceding line refers to the ceremonial curt- 
sy and kiss before an Elizabethan dance; but the text, 
following Fi, has no comma after kissed, so that it may 
mean "kissed into silence." 



NOTES 171 

I. ii. 380. Foot it, i. e., dance. For it, cf. I. ii. 134, note. 
Feaily. Nimbly, gracefully. 

I. ii. 381, Burden. In old music, the burden was the bass 
pr under-song. Here the word seems to carry much its 
modern sense of refrain, 

I. ii. 382. Dispersedly, i. e., the several parts by different 
persons or from different corners of the stage. 

I. ii. 392. Passion. Grief- — a common meaning. Thiv word 
is used for strong emotion of any kind. 

T. ii. 393. Its. A rare pronoun in Shakspere. See Introd., 
p. 43. 

I. ii. 397. Are. Plural by attraction of preceding plural, 
"bones." See Introd., p. 45. 

I. ii. 399. That doth fade. That is subject to decay. 

I, ii. 405. Remember. Recall, commemorate. 

I. ii. 406. Nor no sound. On the double negative, see 
Introd., p. 46. 

I. ii. 407. Owes. Owns, possesses. '"That belongs to the 
earth." 

I. ii. 408. Advance. Lift up. Cf. IV. 177. 

I. ii. 409. Yond. Yonder. 

I. ii. 411. Brave. Fine, handsome. See nore on I. ii. 6. 
Wench. See note on I. ii. 139. 

I. ii. 413. Which. Whom. See Introd., p. 44. 

I. ii. 414. But. Excevt that. /Sfome?7ii»</. Somewhat. Adverb. 

I. ii. 415. That's. Which is. See Introd., p. 44. Canker. 
Canker-worm, which destroys flowers. 

I. ii. 419 It (joes on, i. e., I'rospero's plan ; or perhaps 
"it" is impersonal : "Things are progressing." 

I. ii. 422, 423. Vouchsafe my prayer may knoiv. A slight 
confusion of the prayer with Ferdinand, the one who prays. 

I. ii. 423. Remain. Dwell. 

I. ii. 425. Bear me. Conduct myself, behave. On personal 
for reflexive pronoun, see Introd., p. 44. Prime. First 
(hence, chief). An antithesis to "last" in the next line. 

I. ii. 426. Wonder. Cf. the meaning of the name. "Miranda," 
and note on III. i. 37. 

I. ii. 429. The best. Highest in rank. Ferdinand, believ- 
ing his father drowned, considers himself the King of Naples. 
This explains 11. 433, 434. 

I. ii. 432. Simjle. F'erdinand plays on several Elizabethan 
meanings of this word. (1) One and the same; that is, 
"I and the King of Naples are the same." (2) Solitary. 
(3) Poor, weak, feeble; — this in mild self-disparagement. 



172 NOTES 

I. ii. 4oo-6. He does hear me, etc., because I myself am 
King of Naples. 

I. ii. 434. Naples. King of Naples. Cf. 1. 109 above, and 
note. 

I. ii. 435. Never since at ebh. That is, a flood-tide of 
weeping has ever since been in his eyes. 

I. ii. 437, 438. His brave son. Not elsewhere mentioned, 
unless he be Francisco of II. i. 116-125 and III. iii. 40. Or he 
may be a survival from a lost source. 

I. ii. 439. More hrarer. On the double comparative, see 
IntrocL, p. 43. Control. Challenge, dispute your claim. 

I. ii. 441. Cliang'd. Exchanged. Eyes. Looks of love. 
Delicate. Finely skillful. 

I. ii. 443. Some wrong. Ironical. 

I. ii. 448. Not gone forth, i. e., not granted. "If you are 
still heart-whole." 

I. ii. 451. Uneasy. Difficult. 

I. ii. 453, Attend. See note on I. ii. 78. 

I. ii. 454. Ow'st not. Have no right to. Cf. 1. 407, above. 

I. ii. 463. Fresh-brook. Wanting in flavor. 

I. ii. 465. Entertainment. Treatment. 

I. ii. 468. Gentle and not fearful. Either well-born and not 
timid (and so perhaps dangerous) ; or mild and not terrible 
(and so not requiring such harsh treatment). 

I. ii. 469. My foot my tutor? Shall my foot teach my head? 
i. e., shall my inferior (Miranda) tell me what to do? 

I. ii. 471. Ward. Position of defence. Technical term in 
fencing. 

I. ii. 472. Stick. Magician's wand. 

I. ii. 478. There is. For grammar, see Introd,, p. 45. 

I. ii. 479. Wench. See note on I. ii. 139. 

I. ii. 480, 481. To. In comparison with. 

I. ii. 484. Nerves. Sinews. 

I. ii. 487-489. We should expect "and" instead of "nor" 
(1. 488), but the text as it stands is really a case of double 
negative, hat in 1. 489 being equal to "no more than." 

I. ii. 492. Liberty. Men who are free. Abstract for con- 
crete. See note on I. ii. 367. 

I. ii. 494. It. Cf. note on I. ii. 419. 

I. ii. 496. Me. See Introd., p. 44. 

ACT II. 

II. i. The function of this scene is chiefly the unfolding of 
character, particularly that of the two bad men of the play, 



NOTES 173 

and the creation of suspense as to the success of riosporo's 
plans, on account of the murderous plot. 

II. i. 3. Hint of. Occasion for, cause of. Cf. I. ii. 1-34. 

II. i. 5. The owners or oflBcers of some merchant vessel, 
and the merchant (to whom the cargo belonged). 

II. i. 8, 9. Weigh . . . with. Balance . . . against. 

II. i; 11. Visitor. Gonzalo is contemptuouslj' called the 
"visitor," i. e., the parish visitor, who gave consolation to the 
sick and distressed. 

II. i. 15. Tell. Count. 

II. i. 16. Entertain'd. Received, made welcome. 

II. i. 18. Dollar. Sebastian pretends to understand by 
"entertainer" an inn-keeper, and so interrupts with "a 
dollar," the payment for the entertainment received. 

II. i. 19. Dolour. Grief. 

II. 1. 28. Which, of he or Adrian. This idiom seems to be 
a confusion of two constructions : "which of the two, he or 
Adrian" ; "which, he or Adrian." 

II. i. 33. Laughter. With perhaps a punning reference to 
"laughter" or "lawter," meaning "a setting of eggs," sug- 
gested by the poultry terms "cock" and "cockerel" above. 

II. i. 35. Desert. Uninhabited. 

II. i. 36. Ha, ha, ha ! The laughter with which Sebastian 
pays his bet, Antonio having won through the cockerel 
Adrian's having spoken first. 

II. i. 40. He could not miss't. After the "though" of 1. 35, 
Adrian could not fail to say "yet," to which Sebastian has so 
obligingly prompted him. 

II. i. 42. Temperance. Temperature. 

II. i. 43. Temperance. A proper name, like Charity, Faith, 
Prudence, etc., of a kind favored for Puritan women. 

II. i. 41-44. Delicate. As used by Adrian (1. 42) ; deli- 
cious ; by Antonio (I. 43), lovely. Subtle. As used by Adrian 
(1. 41), fine, or perhaps nice, exact; by Sebastian (1. 44), sly, 
cunning. 

II. i. 45. DeUver'd. Set forth, explained. 

II. i. 52. Lush. Rank, luxuriant. Lusty. Vigorous. 

II. i. 55. Eye. Slight shade, tinge. Sebastian perhaps 
hints that Gonzalo himself is the only green thing on the 
landscape. 

II. i. 67. Pocket up. Keep silence about. 

II. i. 75. To. For. See Introd., p. 47. 

ll.i. 77. A pox o' iliat! A petty curse. The story of 
Di'lo and Aenoas in Vivil wa=! famiMar to the Elizabethans. 

II. i. 82. 0/ that. About that. See Introd., p. 47. 



174 NOTES 

II. i. 84. Tunis . . . Carthage. The modern city of Tunis 
was built near tbe site of the ancient Carthage. 

II. i. 87, 88. The miraculous harp. Stories of the raising 
of city walls by music were connected with Apollo (Troy), 
Amphion (Thebes), and Orpheus. 

II. i. 97. In good time. Indeed. 

II. i. 108. Bate. Except (verb). 

II. i. 105. Doublet. The close-fitting jacket constituting a 
part of the ordinary Elizabethan men's costume. 

II. 1. 107. In a sort. In a way. That sort. There is a play 
here on the meaning of sort in 1. 106, and the meaning 
"group,'' here "catch" of fish. 

II. i. 110. Stomach. Appetite, inclination. Sense. Sensi- 
bility. "When I have no desire to hear them." 

II. i. 112. Rate. Estimation, opinion. 

II. i. 113. Who is. For "she is." 

II. i. 11.5. Of Milan. Milan had been subject to Naples 
(see I. ii. 111-116), hence Alonso's kingship extended over the 
former duchy. 

II. i. 123. His. Its. See Introd., p. 43. 

II. i. 130. Who. The antecedent is either "eye" (for Eliza- 
bethan use of "who" for "which," see Introd., p. 44) or the 
"you" contained in "your." 

II. i. 133. Weigh'd. Either balanced, hung uncertain, or 
considered, pondered. 

II. i. 133, 134. The difficulty here is as to the subject of 
should hole. Some understand "she" ; others, taking "end" 
as subject, connect at with iveigh'd, in the sense of "debated 
upon." Tbe general sense is clear, that, torn between un- 
willingness to go and obedience to her father, she hesitated 
as to which impulse to obey. 

II. i. 136. Moe. More. "Mo(e)" was used as a comparative 
of "many" : "more'" as a comparative of "much." But "more" 
was even in the time of Shakspere beginning to drive out 
"moe." y 

II. i. 138. Dear'st. Heaviest, most grievous part. "Dear," 
in Elizabethan English, not only had its modern senses of 
"beloved," "high in price," but also meant "affecting one 
closely." Cf. "dearest foe," Hamlet, I. ii. 182 ; "dear 
groans." Love's Labor's Lost, V. ii. 874. 

II. i. 141. Time. The fitting time. 

II. 1. 143. Chirurgeonly. Like a surgeon. 

II. 1. 144. Good sir. Addressed to Alonso. 

II. i. 146. Plantation. Colonization. Taken by Antonio 
and Sebastian in the modern sense ol "planting." 



NOTES 175 

II. i. 150 ff. Gonzalo's description of Ins id^il cDmmon- 
wealth follows closely a passage in Florio's translation of 
Montaigne's Essays, pub. 1603, Book I., Chap. XXX., "Of the 
Cannibals." Sec Introd., p. 37. 
II. i. 151. Traffic. Commerce. 
II. i. 153. Letters. Learning. 

II. i. 154. Use of service. Employment of slaves or bond- 
servants. Succession. Inheritance of property. 

II. i. 155. Bourn.. Explained by hound of land' following. 
Tilth. Tillage, cultivation of the land. 

II. i. 163. Endeavour. A stronger w'ord than now. Labor. 
II. i. 164. Engine. Implement of war. 
II. i. 166. It. Possessive. See Introd., p. 44. Poison. 
Glossed by abundance following. 

11. i. 169. Idle. Antonio puns on the word in the sense 
of frivolous, good-for nothing. 

II. i. 171. To excel. As to excel. The golden age. Ac- 
cording to classical myth, a period of universal happiness, 
when men lived in peace and amity, free from bodily infirmi- 
ties and the necessity of toil. 
II. i. 173. Nothing. Nonsense. 
II. i. 176. Minister. Provide. 

II. i. 177. Sensible. Sensitive. Nimble. Quick to re- 
spond. 

II. i. 184. An. If. Flatlong. On the flat side of the 
sword. 

II. i. 185. Brave. Fine (ironic). 

IL i. 186. Sphere. According to the old Ptolemaic astron- 
omy, the sun, the moon, and the planets were set in con- 
centric transparent shells or "spheres," by whose revolutions 
they were carried round. 

IL i. 189. Then. When there was no moon. Bat-foivling. 
A method of capturing birds at night by holding torches or 
other lights and beating their roosts. When the dazed birds 
fly to the light, they are easily caught in nets or killed with 
sticks ("bats"), 

IL i. 190. Good my lord. This inversion of adjective 
and possessive pronoun is very common. 

II. i. 191, 192. Adventure my discretion. Risk my reputa- 
tion for discretion. 

II. i. 193. Heavy. Sleepy. 

II. i. 194. Go sleep, and hear us. Probably a very feeble 
joke, the point lying in the absurdity of telling Gonzalo to 
hear when asleep. But the text may be corrupt. 



176 XOTLS 

II. i. 198. Omit. Neglect. Heavy offer. Offer of heaviness, 
inclination to sleep. 

II. i. 205. Sink. For transitive use, see Introd., p. 46. 

II. i. 206. Nimble. Lively. 

II. i. 211. Speaks thee. Declares, proclaims thee, i. e., the 
greatness of thy destiny. 

II. i. 220. Wink' St. Shuttest thine eyes. In 1. 289, the 
noun "wink" means "sleep." 

II. i. 221. Whiles. An adverbial genitive of the noun 
"while." It is preserved with an excrescent "t" in our 
"whilst." 

II. i. 224. If heed me. Ellipsis of pronoun, "you." Which 
to do, i. e., to heed me. 

II. i. 225. Trebles thee o'er. Makes thee three times as 
great as thou now art. Standing loater. Like the sea between 
tides, making no motion in either direction. But the sense 
of stagnant water is commoner, and may be intended here. 

II. i. 226. To flow, i. e., to advance your fortunes. To ehh. 
To lose ground, drift backwards. 

II. i. 228-230. Liddell plausibly suggests that these lines, 
down to incest it! are an aside to the audience. Taken thus, 
they expose Sebastian's cherishing of the scheme he pretends 
to mock, making it attractive to himself while pretending to 
strip it of attraction, 

II, i. 231. So near the bottom run, i. e., let themselves 
sink, let the waters of their fortunes run low, 

II. i. 233. Setting. Set or fixed look. 

II. i. 234. A matter, i. e., something serious. 

II. i. 235. Throes thee much to yield. Costs thee many 
throes to bring forth, 

II. i. 236, This lord. The context seems to refer to Gon- 
zalo, but Francisco spoke the persuading speech (II, i, 116- 
125). Remembrance. Memory, 

II. i. 238. Earth' d. Buried, 

II. i. 239, 240. Only professes to persuade. His only pro- 
fession is to persuade. A contemptuous sneer at Gonzalo's 
office of "counsellor," with perhaps an insinuation that he 
over-rated his powers of persuasion. 

II. i. 245-247, "This is the utmost extent of the prospect 
of ambition, the point where the eye can pass no further, and 
where objects lose their distinctness, so that what is there 
discovered is faint, obscure, and doubtful." — Johnson. 

II. i. 251. Ten leagues beyond man's life. Ten leagues 
farther than the distance a man can travel in his whole life- 
time. An intentional exaggeration. 



NOTES 177 

II. i. 252. note. Information. Post. Me.ssengor. 
II. i. 254. She that — Anacokithon. That i.s replaced by 
whom in the new construction. From ivhom. Coining back 
from whom. 

II. i. 255. Cast again, i. e., cast up again by the sea. 
II. 1. 256. By that destiny. The lucky fate of being saved 
from the sea. 

II. i. 257. 258. What [is] to co»ie [is] for you and me to 
discharge or execute. "Yours," "hers," "theirs," etc., were 
sometimes used for "your," "her," "their," if separated from 
their nouns. Cf. III. iii. 93, note. 

II. i. 263. Us. The cubits (1. 261). Keep. Intransitive 
sense. Remain, stay. 

II. i. 266. Be. See Introd., p. 45. 

II. i. 269, 270. I . . . could make a chough, etc. "I could 
make (prove) myself as wise a prater as he." The chough is 
a jackdaw, a bird that could be taught to speak. Cf. "choughs' 
language, gabble enough, and good enough." — All's Well, 
IV. i. 21, 22. 

II. i. 273, 274. How much satisfaction do you find in con- 
templating your good fortune? 

II. i. 277. Feater. More gracefully, becomingly. 
II. i. 280.. Kibe. Chilblain. 

II. i. 281. "It would compel me to wear a slipper." 
II. i. 282. Deity, i. e., conscience. 

II. i. 300. Fall it. Let it or make it fall. For transitive 
use, see Introd., p. 46. 

II. i. 302. You, Ms friend. Gonzalo. 
II. i. 305. Open-ey'd. Wakeful. 

II. i. 306. His time doth take. Seizes his opportunity. 
II. i. 310. Sudden. Quick, prompt. 
II. i. 312. Dratcn. With your swords drawn. 
II. i. 314. Securing. Guarding. Cf. II. i. 201-202. 
II. i. 321. A humming. Ariel's song above. 
II. i. 325. Verily. On adverb for adjective, see IntrocL^ 
p. 47. 

II. i. 330, 331. The "rhyme-tag." that is. a couplet to mark 
the conclusion of scenes or to indicate exit speeches, is very 
common in Elizabethan drama. 

II. ii. For the present the characters are divided into a 
number of groups, who hold the stage in turn. This scene 
has to do with the "low comedy" group. Trinculo and 
Stephano, with Caliban (who is henceforth allied with them). 
For the development of the action, the scene introduces a new 



178 * NOTES 



element of suspense — a new danger coming upon Prospero, the 
nature of which is not fully revealed until III. ii. 

II. ii. 3. By inch-meal. Inch by inch. Cf. "piecemeal." 

II, ii. 5. Vrchin-sTioiDS. Appearances of elves. Cf. I. ii. 326, 
note. 

II. ii. 6. Like a -flreTirancl. The ignis fatiius, Will-o'-the- 
Wisp, or Jack-o'-Lanlern, the natural phosphorescent phe- 
nomenon observed at night over marshy places. 

II. ii. 9. Moiv. Make grimaces. 

II. ii. 10. Hedgehogs. See note on "urchins," I. ii. 326. 

II. ii. 11. Mount. For transitive use, see Introd., p. 46. 

II. ii. 13. Wound. Wound round with. 

II. ii. 18. Bear off. Ward off. 

II. ii. 22. Bombard. A large leathern vessel for liquors. 
His for its. See Introd., p. 43. 

II. ii. 29. Poor-John. Di'ied and salted hake. 

II. ii. 31. This fish painted, i. e., as a sign outside of a 
booth at some fair. 

II. ii. 34. Make a man, i. e., his fortune. In 1. 34 the 
phrase is punned on in the sense of "passes for a man." 

II. ii. 3n. Doit. A small Dutch coin. 

II. ii. 36, 37. A dead Indian. Indians brought to England 
by Frobisher and other adventurers attracted much attention. 

II. ii. 39. Let loose. Give up. 

II. ii. 41. Suffered. Suffered death. See 1. 122 below. 
Cf., with same meaning, "suffered under Pontius Pilate" in 
the Apostles' Creed. 

II. ii. 43. Gaberdine. A long cloak. 

II. ii. 46. Shroud. Take shelter. Dregs. Last drops. The 
figure of the bombard (see 11. 21, 22) is still in Trinculo's 
mind. 

Il.ii. 50. Scurvy. Vile. 

II. ii. 52. Sicabber. Sailor who washes dawn decks with a 
swab or mop. 

II. ii. 56. Tang. Shrill sound, twang. 

II. ii. 65. Put tricks upon's. Play tricks with us, attempt 
to impose upon us. 

II. ii. 68-69. Proper. Fine. Went. Walked. On four 
legs, meaning, of course, on crutches. 

II. ii. 69. Give ground. Yield, retire in the fight. 

II. ii. 75. Should he learn. Can he have learned. 

II. ii. 77. Recover. Restore. 

II. ii. SO. Neat's leather. Cow-hide. 

II. ii. 83. Fit, i. e., fit of the ague. See 1. 74, above. 
After the wisest. In the most sensible manner. 



NOTES 179 

II. ii.. So, 86. Go near to rcnioce. Cnmo near roniovinfj;. 

ll.ii. 87. 8S. I vill not tale too much for hint. Steph- 
ano's attempt at Ironical humor. 

ll.ii. 91. TreiiihUng. Regarded as a siau of Ixnng pos- 
sesspd by spirits or devils. 

II, ii. 03. Come on pour trays. A comraon phrase, meaning 
simply, "Come along I" 

II. ii. 95. Gat. "Alluding to the old proverb tliat 'good 
liquor will make a cat speak.' " — Stoevens. quoted in Var. 

IT. ii. 98. Chaps. Jaws. 

II. ii. 102. Delicate. Ingeniously contrived; with humor 
lent by its other sense of exquisite, and by Stephauo's appre- 
ciation of the value of the ingenious arrangement. 

II. ii. 107. Amen! That's enough for that mouth I 

II. ii. 112. / have no long spoon. Referring to the well-- 
known proverb (Com. of Errors, IV. iii. 04. 65) : "He must 
have a long spoon that must eat with the devil." 

II. ii. 120. Moon-calf Abortion, monstrosity, supposed to 
be formed by the influenc>3 of the moon. 

IT. ii. 130. Constant. Steady. 

TI. ii. 137. f^a(-k. "The generic name of Spanish and 
Canary wines." — Schmidt. 

II. ii. 143. Here, etc. Stephano addresses this speech to 
Trinculo. not noting Caliban's interruption. 

IT. ii. 146. Kiss the hook. He gives him the bottle, in 
place of the Bible, to swear upon. 

II. ii. 154. When time teas. Once tipon a time. 

TI. ii. 156. Thee and thy dog and thy hush. All distin- 
guished by the Elizabethans on the face of the moon. Cf. 
M. N. Dream, V. i. 136, 137. 

TI. ii. 162. Well drawn. A fine draught of wine : 

IT. ii. 163. fiootli. Truth. 

IT. ii. 185. Crahs. Crab-apples. 

IT. ii. 186. Pig-nvts. Earthnuts. 

TT. ii. 188. Marmoset. A variety of small South and 
Central American monkey. 

II. ii. 190. Scamels. Most probably a misprint for "sea- 
mel(l)," a variant form of "sea-mew." The young sea-mews 
were considered delicacies. A diminutive form of "scams," a 
local name for the shell-fish limpet, has also been proposed, 
and many other emendations even less likelv. 

II. ii. 194. Inherit. Take possession. Cf. TV. i. 154. 

TI. ii. 201. Trenchering. Caliban's drunken coinage from 
"trencher" (wooden platter") ; or perhaps a collective form. 



180 NOTES 

ACT III. 

III. i. This scene of exalted sentiment, carrying forward 
tbe love-plot, is in effective contrast with the low comedy 
of the preceding. 

III. i. 1. Be. See Introd., p. 45. Sports [which] are pain- 
ful. On omission of the relative, see Introd., p. 44. Painful. 
Requiring pains or labor. Labour. Object of sets off. 

III. i. 2. Sets off. Counterbalances. 

III. i. 3. Are nobly undergone. It is noble to undergo. 

III. i. 6. Which. Whom. See Introd., p. 44. Quickens 
what's dead. Makes a living, joyous thing of this lifeless task. 

III. i. 11. Upon a sore injunction. Under penalty of severe 
punishment. 

III. i. IH. Executor. Performer. I forget. He had 
stopped in his task. 

III. i. 15. One of the most famous diflSculties in Shakspere. 
The general meaning seems to be that my busiest moments 
become least toilsome when I refresh myself with sweet 
thoughts about Miranda. But the text may be corrupt. 

III. i. 21. Safe. "Safe out of the way." (Verity.) Of 
course, the audience sees Prospero at the back and knows he 
is not "safe." An example of "dramatic irony." 

III. i. 31. Worm. Creature. Here expressing pity. Thou 
art infected. You have caught the disease of love. 

III. i. 32. Wearily. For adverb instead of adjective, see 
Introd., p. 47. 

III. i. 37. Broke. Past part. On form, see Introd., p. 45. 
Admir'd. Admirable, to be regarded with wonder. A play on 
Miranda's name, which means the same thing. 

III. i. 42. Several. Separate, different. Virtues, Goo*d 
qualities, not necessarily moral. 

III. i. 45. Ow'd. Owned, possessed. 

III. i. 46. Put it to the foil. Foiled, defeated it. 

III. i. 51. More that I may call men. Phrased so as to 
exclude Caliban. 

III. i. 52. Ho%v features are abroad. "What people look 
like in other lands." Features was used of the general 
appearance of people, not alone of the face. 

III. i. 53. Skilless. Ignorant. 

III. i. 59. Condition. Rank. 

III. i. 62. Wooden slavery. Referring to his enforced task 
of piling logs. Than to suffer. The "to" is omitted before the 
first infinitive, "endure," but supplied with the second, 
"suffer" — a not uncommon Elizabethan idiom. See Introd., 
p. 46. 



NOTES 181 

III. i. 63. Flesh-ffi/. "Blow-fly" ; flies the maggots of which 
feed on flesh. Blow. To deposit eggs upon. On omission of 
the "to," see Introd., p. 46. 

III. i. 69. Kind event. Favorable outcome. Cf. I. ii. 117. 

III. i. 70. Invert, etc. Turn the best fortune destined to 
my lot to misfortune. 

III. i. 72. What. Whatever, anything. 

III. i. 77. That agrees with "me" implied in "mine." 

III. i. 79. To want. For lack of. See Introd., p. 46. 

III. i. 80. It. Miranda's modesty forbids her to speak out 
the word "love." 

III. i. 84. Your maid. Double meaning of "your servant" 
and "virgin for your sake." Fellow. Parallel to "wife" (1.83). 

III. i. 87. Thus humble. Ferdinand kneels. 

III. i. 89. As bondage, etc. "As a prisoner was ever desir- 
ous of freedom." 

III. i. 93. Who. Fbr they. Cf. II. i. 113. WWial. 
With it. 

III. i. 94. Book. Book of magic. 

III. ii. continues II. ii., and reveals, in the plot of Caliban, 
Trinculo, and Stephano, a danger threatening the success of 
Prospero's plans, but one which Ariel is prepared to avert. 
Note how the low comedy scenes are distributed between more 
serious or more emotional scenes. 

III. ii. 1. Tell not me. Trinculo has made the suggestion 
that they be more sparing with the wine. 

III. ii. 3. Bear up. Bring the vessel into the direction of 
the wind. The "enemy" Stephano contemplates attacking is, 
of course, the bottle. 

III. ii. 10. Set. Fixed in a drunken stare. 

III. ii. 19. Standard, Standard-bearer or ensign. Trinculo, 
in his bad pun, makes "standard" mean "stander." "He's too 
drunk to stand." 

III. ii. 20. List. Please, desire. 

III. ii. 22. Run — from the enemy ; continuing Stephano's 
military phraseology. 

III. ii. 23. Nor (jo neither. Nor walk. On the double 
negative, see Introd., p. 46. Lie. In both senses. 

III. ii. 30. In case. In condition, able, Justle. Jostle. 

III. ii. 31. Debosh'd. Debauched, 

III, ii. 38. Natural. Idiot. 

Ill, ii. 42. The next tree! You'll be hanged on the next 
tree ! 

III. ii. 48, Marry. A very common Elizabethan oath, 
originally by the virgin Mary. 



182 XOTES 

III. ii. 54. Thou jesting monkey. Addressed to Trinculo, 
whom Caliban conceives to have spoken. The same situation 
recurs at 11. 78-75. Ariel so contrives that his interruptions 
are not heard by Trinculo. 

III. ii. 65. This thing. Trinculo. 

III. ii. 70. Yield. Hand him over. Thee. Dative, 

III. ii. 73. Pied ninny. Party-colored fool. Alluding to 
Trinculo' s jester's motley. 

III. ii. 77. . QuicTi freshes. Fresh springs. 

III. ii. 81. StocJc-fish. Beat thee as a stockfish (dried cod) 
is beaten before it is boiled. 

III. ii. 91. Murrain. Plague. Now restricted to diseases 
of animals. 

III. ii. 102. Paunch. Rip his belly up. 

III. ii. 103. Wezand. Wind-pipe. 

III. ii. 105. Sot. Fool. Nor hath not. On double negatives, 
see Introd., p. 40. 

III. ii. 107. Burn Tjut his T)00ks. Only burn his books. 

III. ii. 108. Utensils. Accented on first syllable. 

III. ii. 109. Deck. Adorn. Withal. With (governing 
"which"). 

III. ii. 110. That. Demonstrative. To consider. Active 
infinitive for passive. The phrase that . . . to consider is 
subject of "is." Or we may understand "which is" after that. 

III. ii. 112. Nonpareil. One without an equal. 

III. ii. 118. She. Used for the grammatically correct 
"her," as often when the preposition is remote. 

III. ii. 130. Troll. Sing the parts in succession. Catch. 
A part-song in which the words of one part are made to 
answer, or catch, the other,, Cf. the "catch" in Twelfth Night, 
II. iii. 59ff. 

III. ii. 181. While-ere. Erewhile, a while before, a short 
time since. 

III. ii. 137. Stage-dir. Tahor. A small drum often attacluxl 
to a flageolet or pipe. 

III. ii. 140. Nohody. Probably some topical allusion. A 
cut prefixed to an old comedy. No-hody and Some-tody, showed 
the picture of a man all head, arms, and legs ; with, literally, 
"no body." Other figures of "No-body" are known. 

III. ii. 142, 143. Take't as thou list. "Take my remarks in 
what manner you please." 

III. ii. 157. Cried. Cried out. demanded, 

III. ii. 166. Lays it on. Plays vigorously. 

III. iii. continues IT. i., and marks the turning point of the 
action with regard to Prospero's chief enemies. Through the 



NOTES j^;,' 

agency of Ariel, Alonso, Antonio, and Sebastian nr^ shown 
their guilt, punished, and driven to distraction. I'repaiatiou 
is made for the repentance of .Alonso and the submission of 
the others. 

III. iii. 1. By'r lakin. Contracted from "by our ladykin" 
(little lady), originally an oath by the virgin Mary. 

111. iii. 3. Forth-riylits and meanders. Straight and Vi'ind- 
ing raths. lil^e those in an artificial maze. 

111. iii. 4. Me. For personal instead of reflexive form, see 
In trod., p. 44. 

III. iii. 5. Attach'd. Seized (the regular Elizabethan m^'an- 
ins). Cf. legal nse of the word. 
III. iii. 7. Put off. Dismiss. 
HI. iii. 10. Frustrate. Vain. 
III. iii. 12. For. Because of. 
III. iii. 14. Throughly. Thoroughly. 
III. iii. IC). A'or cannot. See Introd.. p. 46. 
III. iii. 17. Stage-dir. On the iop. Ou the balcony at the 
rear of the Elizabethan stage. 

III. iii. 19. Marvellous. Adjective for adverb. See Introd., 
p. 47. 

III. iii. 20. Kind keepers. Loving guardians. 
III. iii. 21. Drollery. A puppet-show. A "living" drollery, 
ont* in which the actors were living persons, not wooden 
figures. 

III. iii. 22. Unicorn. A fabulous horse-like animal with 
one long, straight horn in the center of his forehead. 

HI. iii. 23. Phoenix. The well-known mythical bird, which 
every five hundred years builds for itself a funeral pyre and 
is consumed thereon, only to rise re-created from the ashes. 
According to the orthodox version of the story there is but 
one. which lives in Arabia on a special tree. 

III. iii. 25. Does . . . ^cant credit. Lacks belief, Is not 
believed in. 

HI. iii. 30. Certes. Certainly. 
HI. iii. 31. Monstrous. Not human. 

HI. iii. 31, 32. Who-. . . their manners are. Anacoluthon. 
TIT. iii. 33. Our human generation. The race of men. 
HI. iii. 36. Muse. Wonder at. 
HI. iii. 38. Want. Lack. 

HI. iii. 39. Praise in departing. Don't utter praises until 
you see how your entertainment is going to end. A proverbial 
expression. 

HI. iii. 45. Deu--lapp'd. With loose skin and flesh hanging 
from the throat, which laps up the dew. 



184 ^'OTES 

in. iii. 4Q. Wallets of flesh. Probably an allusion to the 
diseast; called goitre, which is of frequent occurrence in 
Alpine regions. 

III. iii. 47. Whose heads stood in their breasts. A tribe 
answering this description is told of in Hakluyt's Voyages. 
Such books of travel were very popular in the time of 
Shakspere, when imaginations were stirred by the tales of 
explorations in the New World. 

III. iii. 48. Each putter-out of five for one. Each traveler. 
The reference is to an Elizabethan system of insurance. A 
man on going upon a journey might leave with a banker a 
sum of money on condition that if he returned safely he was 
to receive five times the amount deposited ; the banker, mean- 
time, having the use of the money, and the chance of keeping 
it if the traveler did not return. 

III. iii. 49. Stand to. Fall to work. Feed. Not confined 
to animals in Shakspere's day. 

III. iii. 52. Stage-dir. Harpy. In classical mythology, a 
monster having a woman's head and body, and a bird's wings, 
tail, legs, and claws. In the Aeneid, III. 225, Aeneas narrates 
the breaking-up of a feast of the Trojans by harpies. With a 
quaint device. By an ingenious mechanism. 

III. iii. 54. Hath to instrument. Uges as its instrument. 

III. iii. 56. You. A second object of "belch up," the far- 
removed "whom" (1. 53) being forgotten. 

III. iii. 57. Inhabit. Now used only transitively. See 
Introd., p. 46. 

III. iii. 60. Proper. Own. a 

III. iii. 61. Elements. Materials. 

III. iii, 62. Whom for "which." See Introd., p. 44. Tem- 
per'd. Compounded. 

III. iii. 64. Still-closing. Ever closing after being cut 
througii. 

III. iii. 65. Doiole. Downy feather. Plume. Plumage (on 
Ariel's head in his shape of harpy). 

III. iii. 66. Like. Alike with me. 

III. iii. 67. Massy. Massive ; large and heavy. Strengths. 
See Introd., p. 43, and "wraths, "" I. 79, below. 

III. iii. 70. Supplant. Remove: ns in III. ii. 58. 

III. iii. 71. Requit. Contracted past participle for "re- 
quited." It. The pronoun "it" (as frequently in Shakspere) 
has no antecedent, referring to the general idea "exposure," 
implied in the preceding clause. Cf. the "it" of III. i. 15. 

III. iii. 79. Whose. Antecedent, "they" (1. 76), i.e., the 
powers. 



KOTES 



185 



III. iii. 80. Falls. On singular verb with plural subject, 
see Tntrod.. p. 45. 

III. Iii. 81. 7s nothing hut. There is no remedy except. 

III. iii. 82. Clear. Blameless. 

III. iii. 82. Stage-dir. Mocks and motes. Mocking gestures 
and grimaces. Cf. II. ii. 9. 

III. iii. 83. Bravely. See note on I. ii. 6. 

III. iii. 84. Devouring, i. €., when it seemed to devour the 
banquet. 

III. iii. 85. Bated. Excepted, left out. Cf. I. ii. 250. 

III. iii. 86.. ^itU good life. In a very life-like manner. 

III. iii. 87. Ohservation strange. Rare attention (to their 
parts). Cf. IV. i. 7 for "strangely" in same sense. Meaner 
viinislers, i. €., those inferior to Ariel. 

III. iii. 88. Kinds, i. e., of task. 

III. iii. 89, 90. Knit up in. Tied up, entangled in, i. e., 
under the Influence of. 

III. iii. 92. WJiom for "who" is thought of as the object 
\ot suppose, hence the form. Or there may be a confusion of 
two constructions, "who, they suppose, is," and "whom they 
suppose the." 

III. iii. 93. Mine for "my." See note on II. i. 257, 258. 

III. iii. 95. Monstrous. Preternatural. 

III. iii. 99. Did tass my trespass. Uttered my sin in its 
doep bass voice. 

III. iii. 100. Therefore. For my trespass. 

III. iii. 101. Plummet. Lead for sounding depths of water. 
See V. i. 56. 

III. iii. 102. Mudded. Note the freedom with which the 
Elizabethans made one part of speech do duty as another. 

III. iii. 105. To ivork. With the intention of producing its 
effect. 

III. iii. 106. Gins. Begins. Bite the spirits. Note the 
same metaphor in the word "remorse," literally "a biting 
back." 

III. iii. 108. Ecstasy. In Elizabethan English, any state 
of being beside one's self, out of one's mind, by whatever 
emotion produced. 

ACT IV. 



The two chief sub-plots of the play are brought to a conclu- 
sion in this act : namely, the Ferdinand-Miranda love-story, 
and the conspiracy of Caliban and his confederates against 
Prospero's life. The last act is thus left to Prospero, to 



186 NOTES 

deal — in what temper, the playwright still keeps in suspense— 
with his enemies. 

The masque in this act is quite in keeping with the 
spectacular nature of the play. 

IV. i. 3. Third. The three parts of Prospero's life are his 
daughter, his dukedom, and his art. 

IV. i. 4. Who for "whom." See Introd., p. 43. 

IV. i. 7. Strangely. Rarely, wondrously. Cf. III. iii. 87. 

IV. i. 9. Boast her off. "Set forth her merits boastfully." 
(Wright.) "OfE" acts as an intensive to the verb. 

IV. i. 12. Against an oracle. "Even though an oracle 
declared otherwise." 

IV. i. 14. Purchased. Gained, won. "Purchase" has been 
highly specialized in modern usage ; formerly it meant "to 
acquire in any way except by gift o^ inheritance." 

IV. i. 16. Sanctimonious. Holy. 

IV. i. 18. Aspersion. Sprinkling. 

IV. 1. 23. Hymen, the god of marriage. 

IV. i. 26. Opportune. Accent on second syllable. See 
Introd., p. 42. Suggestion. Prompting to evil, temptation. 
Cf. II. i. 292. 

IV. i. 27. Worser. A double comparative. See Introd., 
p. 43. Genius. Spirit presiding over the destiny of a person. 
A man was often conceived as having both a good and an 
evil genius. Can. Is capable of. 

IV. i. 30, 31. Or . . . or. Either ... or. Phoehus Apollo^ 
the god of the sun. For possessive without 's, cf. Phoenix, 
III. iii. 23. Foundered. Lamed. "When I shall think that 
day will never come to an end." 

IV. i. 31. Fairly. Honorably, nobly. Spoke for "spoken." 
See Introd., p. 45. 

IV. i. 33. What. A common exclamation used in calling a 
person. 

IV. i. 37. Rahhle. Simply "crowd," without modern oppro- 
brious meaning. 

IV. i. 41. Vanity. Trifle. 

IV. i. 42. Presently. Immediately. Cf. I. ii. 125. 

IV. i. 43. Twink. Wink of the eye ; twinkling. 

IV. i. 47. Mop and moio. A favorite alliterative phrase, 
both members of which mean "grimace." Cf. II. ii. 9, and 
note. 

IV. i. 51. Dalliance. Fondling ;, exchange of caresses. 

IV. i. 56. Liver. Regarded as the seat of the passions. 
"Her chaste breast against mine cools my passion." 



NOTES 



1S7 



IV. i. 57. Corollary. Surplus: more than enough (spirits 
to act the play). 

IV. i. 58. ' Want, Be lacking in. Pertly. Briskly. 

IV. i. 59. A'o tongue. Strict silence had to be observed at 
incantations. Noise of any kind broke the charm. Cf. 
11. 126, 127, below. 

IV. 1. 59. Stage-dir. Iris. Goddess of the rainbow and the 
messenger of Juno. 

What follows is the most complete example in Shakspere 
of the incidental masque, introduced into a drama to give 
spectacle and variety. The independent masque, as written, 
e.g., by Bon Jonson, was, of course, a much longer and more 
elaborate composition. 

IV. i. 60. Ceres, the Roman goddess who presided over 
agriculture and the fruits of the earth. Leas. Fields. 
Ordinarily, meadows. 

IV. i. 63. Thatch'd. Covered. Stover. Coarser kinds of 
hay suitable for winter fodder. 

IV. i. 64. Banks with pioned and twilled brims. River 
banks whose edges are covered with peonies and reeds. Pione 
is an old form for "peony" ; and twill = reed. But the peony 
does not grow wild in England, nor does it blossom in April ; 
while there is some difficulty in proving that tivill was used 
for sedge or reed, the plant. Accordingly, some editors inter- 
pret as a reference to the banking and ditching of land in 
early spring for drainage. Pioned would then mean "dug 
deep" (cf. "pioneer," originally the digger preceding an 
army), and tirilled, "ridged" (cf. the ridges on "twilled" 
cloth). Emendations proposed for t willed are tilled, lilied, 
willowed, etc. 

IV! i. 65. Spongy. Wet. rainy. Hest. See note on I. ii. 274. 

IV. i. 66. Cold. Void of passion, chaste. Brorcn groves. 
Brown is often used in earlier English for dark, shady, with- 
out implying precise color. The Folio reading, of which this 
is an emendation, is "broome groves," but broom is too small 
a shrub to give shade to jilted lovers. 

IV. i. 68. Lass-lorn. Having lost his love. Pole-clipp'd. 
With the poles embraced or twined round ("clipp'd") by the 
vines. 

IV. i. 70. The gnern o' the sl:y. .Tuno, referred to in 1. 77 
as "the wife of Jupiter." 

IV. i. 71. ^Vaiery arch. The rainbow. 

IV. i. 74. Peacocks were sacred to Juno and drew her 
chariot. Amain. Swiftly. 



188 NOTES 

IV. i. 76. Many-coloured. An allusion to Iris's character 
as goddess of the rainbow. 

IV. i. 78. Saffron wings. The epithet is applied to Iris 
in Phaer's translation of Virgil {Aeneid, IV. 700). 

IV. i. 81. Bosky. Covered with bushes or underwood. 
Acres, generally for "ifield, land." "Bosky acres" are con- 
tracted with "unshrubb'd down," i. e., bare hill tract. 

IV. i. 85. Estate. Bestow, settle. 

IV. i. 89. Dusky Dis. "Dis" is another name of the gcfd 
Pluto, who presided over the gloomy under-world ; hence the 
classical epithet, "dusky." 31y daughter. Persephone or 
Proserpine. The story of her abduction by Pluto is one of the 
most celebrated in Greek mythology. That = hj which; or 
Dis may be taken as a dative. 

IV. i. 90. Her Mind hoy. Cupid. Scandal'd. Scandalous. 

IV. i. 93. PapJios. A town in the island of Cyprus sacred 
to Venus. 

IV. i. 94. Dove-draton. Doves were sacred to Venus and 
drew her chariot. 

IV. i. 95. Wanton. Lustful. 

IV. i. 98. Hot. Passionate. Minion. Darling, i.e., Venus, 
the beloved of Mars. 

IV. i. 99. Waspish-headed. Irritable. 

IV. i.lOO. Sparroivs were birds associated with Venus and 
Cupid. 

IV. i. 101. Jiight out. Outright. 

IV. i. 106 fif. Juno speaks her blessing as the goddess 
presiding over marriage ; Ceres in her character as goddess 
of the plenteous harvest. 

IV. i. 108. Still. Always. 

IV. i. 110. Foison. Abundance. Cf. II. i. 166. 

IV. i. 111. Garners. Granaries. 

IV. i. 114, 115. Spring, etc. The idea is that spring sha'll 
follow immediately upon the harvest ; there shall be no 
winter. 

IV. i. 119. Charmingly. Through the power of a magic 
charm. Bold. So bold as. 

IV. i. 123. So rare a wond'red father and a wise. A father 
so rarely endowed with wonders and so wise. Wise. Some 
copies of Fi appear to read "wife," and some editors prefer 
this reading. The letter "f" and the old-style long "s" are 
frequently almost indistinguishable in print. 

IV. i. 128. Winding. Fi has "windring," which some regard 
as meant for "wandering." 

IV. i. 129. Harmless. Innocent. 



NOTES 189 

IV. i. 130. Cnf<p. With rippli^ci surface. 

IV. i. 132. Temperate. Chaste. Cf. 1. 66, above. 

IV. i. 138. Countnj footing. Country dancing. 

IV. i. 138, Stage-dir. Enter certain Reapers, etc. The 
masque was ordinarily divided into two parts, "masque" and 
'•anti-masque." the former with dignified and noble figures, 
the latter a grotesque or otherwise contrasting foil thereto. 
The dance of nymphs and reapers constitutes here the anti- 
masque. Heavily. Gloomily, mournfully. 

IV. i. 142. Avoid. Be gone. 

IV. i. 143. Passion. Strong emotion. 

IV. i. 145, Distemper'd. Put out of normal temper, dis- 
composed, agitated. 

IV. i. 146. Mov'd sort. Disturbed, agitated manner. 

IV. 1, 148. Revels. The technical term for masques and 
similar entertainments. 

IV. i. 148. Our revels noiv are cn>ied, etc. A very famous 
passage : one of the supreme poetical achievements of our 
literature. Note the beauty of the images, the majesty of the 
rhythm, including the masterly arrangement of pauses, the 
splendor of the vowel and consonant music. 

IV. i. 154. Inherit. Possess. 

IV. i. 156. Not a rack. Not a film of cloud. 

IV. i. 157. On. Of. See lutrod., p. 47. 

IV. i. 158. Roiivded icith. Either (1) "surrounded by": 
i. €., its beginning and end a sleep : or (2) "rounded out 
with," "completed by." 

IV. 1. 164. With a thought. Quick as a thought. 

IV. i. 166. Meet with. Encounter, cope with. 

IV. i. 167. Presented. Represented, acted the part of. 

IV. i. 176. Unhaclc'd. Unriddon, not broken. 

IV. i. 177. Advanc'd. Lifted up. Cf. I. ii. 408. 

IV. i. 178. As. As if. So I charm'd. I so charmed. 

IV. i. 182, Filthy-mantled. Covered with a filthy scum. 

IV. i. 184. Bird. A term of endearment, like "chick" 
(V. i. 316). - 

IV. 1.186. Trumpery. Showy trash. 

IV. i. 187. Stale. Decoy ; a live or stuffed bird by which 
hunters entice others to enter the snare. 

IV. i. 189. Nurture. Education and good breeding. 

IV. i. 192. Cankers. Grows malignant or venomous. 

IV. i. 193. Line. Lime or linden tree. Cf. the "line-grove" 
in V. i. 10. Some editors believe that a hair clothes-line is 
meant. 

IV. i. 194. The hlind mole possesses very acute hearing. 



190 NOTES 

IV. i. 198. Flay'd the Jack. Played the knave. 

IV. i. 206. Hoodwink. Cover up from sight. 

IV.' i. 217. Mischief. Harm, injury. A stronger word tha?i 
today. 

IV. i. 218. I for "me." Note again faulty grammar owing 
to the fact that the original structure of the sentence is 
forgotten. 

IV. i. 222. O King Stephano! peer! An allusion to a 
well-known ballad, "Take thy old cloak about thee," a stanza 
of which, as quoted in Othello, II. iii. 92-95, runs : 

"King Stephen was and-a worthy peer, 
His breeches cost him but a crown ; 
He held them sixpence all too dear, 
With that he call'd the tailor lown." 

IV. i. 226. Frippery. An old-clothes shop. "This is no 
'trash' such as is kept at an old-clothes shop ; we know the 
kind of thing sold there." 

IV. i. 231. To dote. By doting. See Introd., p. 46. Let's 
alone. If reading of Fi, here adopted, is correct, the verb of 
motion is omitted (see Introd., p. 46). "Let us go alone." 
Caliban gives over Trinculo as hopeless, and, turning to 
Stephano, proposes that they proceed alone. But Stephano 
is equally interested in the finery. Emendations which have 
met with much favor are: (1) let's along; (2) left alone. 

IV. i. 235. Mistress line. Stephano in mock courtesy thus 
addresses the lime-tree (see note on 1. 193, above), after 
which he removes the garment from its place, so that it is 
then "under the line." 

IV. i. 236. Jerkin. A jacket or short coat. 

IV. i. 237, 238. You are like to loose your hair, etc. The 
joke seems to be based on a punning identification of the line 
or lime-tree and the equinoctial line. Especially in the days 
of slow sailing vessels, persons voyaging through the hot 
equatorial regions were likely to contract fevers which caused 
them to lose their hair. Or, the allusion may be to the 
customary celebration among mariners on crossing the equator 
(passing "under the line"), during which unpopular members 
of the crew are subjected to a mock shaving. For other 
suggestions, see Var. 

IV. i. 239. Do, do. Go on, keep it up. By line and level. 
Trinculo adds his pun on "line." IIere = plumb-line. A phrase 
borrowed from the carpenter's trade, meaning "according to 
rule, sj'stematically." An. If. Like. Be pleasing to. , 



NOTES 191 

IV. i. 244. Pass of pate. Thrust of wit, witty sally. 

IV. i. 246. Lime. Bird-lime. 

IV. i. 249. Barnacles. Probably Caliban is thinking of 
"barnacle geese," not the shellfish. In medieval natural 
history, the notion prevailed that the shellfish grew on trees, 
dropped into the sea, and there matured into the species of 
geese variously known as "brant geese," "tree geese," or 
"barnacles." 

IV. i. 250. Foreheads. In Elizabethan times, a low fore- 
head was regarded as a deformity, while a high one was a 
feature of beauty. Villainous. Adjective form for adverb. 
See Introd., p. 47. 

IV. i. 259. Hark. A cry to set on the dogs. 

IV. 1. 262. Aged cramps. Cramps such as old people suffer. 
Cf. I. ii. 369. 

IV. i. 263. Pard. Leopard. Cat o' mountain. A name given 
to the smaller varieties of the leopard. ' 

IV. i. 265. Lies. On singular verbs with plural subjects, 
see Introd., p. 45. 

ACT V. 

V. Trospero now has complete power ovt-r his enemies, but 
in a spirit of exalted magnanimity he foregoes his vengeance 
and pardons them, at the same time renouncing his use of 
magic. His dukedom is restored, his daughter's happiness is 
assured, and the play closes in an atmosphere of repentance 
and forgiveness. 

V. i. 2. Crack not. Do not break ; i. e., hold fast, are still 
potent. 

V. i. 2, 3. Time goes, etc. Time does not bend even under 
the burden of so rapid a succession of events. 

V. i. 4, On. Close upon, approaching. Sixth hour. See 
I. ii. 239-241, also 11. 136 and 223, below. Note that the 
events of the play are represented as transpiring in about 
three hours, or little more than the time needed for their 
performance on the stage. 

V. i. 7. Fares. Singular verb with compound subject. See 
Introd., p. 45j 

V. i.- 8. Gave in charge. Ordered. 

V. i. 10. Line-grove. Grove of lime or linden trees. See 
IV. 1. 193, note. Weather-fends. Protects from the weather. 

\;. i. 11. Your release. Released by you. 

V. i. 17. Eaves of reeds. Eaves of a thatched roof. 

V. i. 18. Affections. Feelings. 

V. i. 22. Myself. See Introd.. p. 44. 



192 NOTES 

T. i. 23. Relish. Taste ; here, feel. 

V. i. 24. Passion. Emotion. Noun, object of "relish." 
Kindlier. More naturally, more in accordance with my and 
their kind {i.e., human nature). 

V. i. 25. Their high tcrongs. Great wrongs inflicted by 
them. 

V. i. 27. Rarer. Finer, nobler. 

V. i. 33, Ye elves of hills, etc. In this passage (down to 
1. 50), Shakspere is following in general the invocation of 
the enchantress Medea in Ovid's Metamorphoses, vii., 197- 
219, as Englished by Arthur Golding, and often using Gold- 
ing's very words. There are indications that in some places 
he is translating the original direct, not following Golding. 
See Introd., p. 37. 

V. i. 34. Printless. Leaving no print. 

V. i. 35. Neptune. The sea personified. 

V. i. 36. Demi-puppets. Literally, creatures only half as 
large as puppets — a reference to the diminutive fairies or 
elves. 

V. i. 37. Green sour ringlets. So-called "fairy rings," cir- 
cles of ranker grass common in meadows. 

V. 1. 39. That rejoice, because at curfew the spirits might 
leave their prisons and range abroad. Cf. King Lear. 
IIL iv. 120 : "This is the foul fiend Flibbertigibbet ; he begins 
at curfew, and walks till the first cock" (i. e., cock-crow). 

V. i. 41. Weak masters. Weak when left to yourselves, 
though powerful to aid when ruled and directed by me. 

V. i. 53. Their senses that. The senses of those whom. 
Cf. III. L 77 and V. i. 214. 

V. i. 54. ril hreak my staff. These lines (and indeed the 
whole speech) have been thought by many to be of auto- 
biographic significance— a symbolic expression of Shakspere's 
farewell to the stage. See Introd., p. 33. 

V. i. 59. For the use of music to restore an unhinged mind, 
cf . Lear, IV. vii. 

V. i. 59. Unsettled f(tnci/. Disturbed imagination. Cf. the 
story of David and Saul, /. 8am., xvi. 14-23. 

V. i. 61. You. Addressed to the whole party, the first 
lines probably to Alonso. 

V. i. 63. Sociable to. Sympathizing with. Shew. Appear- 
ance. Gonzalo is weeping. 

V. i. 64. Fall. Let fall. See Introd., p. 46. Fellowly. 
Fellow-like, companionable. 

V. 1. 67. Chase. Dispel. Ignorant fumes. Fumes causing 
ignorance. According to Elizabethan physiology, the befud- 



^"OTES 193 

dling of the sense worked liy I'rospero's magic is caused by 
vapois or fumes which rise to the brain aud derange its 
worldng. Mantle. Envelop. Cf. IV. i. 182. 

V. i. 68. Clearer. Probably proleptic. "Reason thus made 
clearer." 

V. i. 70. Graces. Favors, acts of kindness. 

V. i. 71. Home. Thoroughly, to the utmost. 

V. i. 75 ff. You. Prospero addresses his brother by the 
stern and formal "you,"' but as soon as he has forgiven him 
(1. 78), employs the more tender "thee." A similar dramatic 
distinction in 11. 130-132 below. On "you" and "thou," see 
I. li. 1, note. 

V. i. 76. Remorse. Pity. Nature. Natural feeling. Whom. 
Objective for nominative. Cf. Introd., p. 43. 

V. i. 81. Reasonable shore. Shore of reason. The mind, 
bereft of its reason, is compared to mud flats when the tide 
is out. 

V. i. 85. Disease Remove my magic robes. 

V. i. 86. Sometime. Formerly. Milan. Duke of Milan. Cf. 
I. ii. 109. 

V. i. 96. 8o, so, so. Very good ; that will do (referring to 
Ariel's assistance in attiring him). 

V. i. 101. Presently. At once. Cf. I. ii. 125. 

V. i. 102. / drink the air. "An expression of swiftness of 
the same kind as 'to devour the way' in 2 Hen. IV.: I. i. 47." ~ 
• — .Johnson, quoted in Var. 

V. i. 103. Or ere. Before. See I. ii. 11, note. 

V. i. 105. Inhabits. Dwells. On singular verb with com- 
pound subject, see Introd., p. 45. 

V. i. 111. Whe'er. A common contraction, for metrical 
purposes, from "whether." 

A\ i. 112. Trifle. Delusion. Abuse. Deceive. 

V. i. 117. An if. If if, one conjunction merely rein- 
forcing the other. Cf. "or ere," I. ii. 11. and V. i. 103. 

V. i. 118. Thy dukedom I resign. Antonio had made it a 
fief of Naples. See I. ii. 111-127. 

V. i. 119. My wrongs. Wrongs inflicted by me. Cf. "their 
high wrongs," 1. 25, above. 

V. 1. 124. Subtleties. Illusions : literally, quaint devices 
of confectionery or pastry. This metaphor from cooking is 
perhaps suggested by the verb "taste," and may be used 
by Prospero with some thought of the magic banquet of 
III. iii.17-52. But taste can mean merely "experience," and 
there may he no conscious figure here. 

V. i. 127. Pluck. Draw down. 



194 NOTES 

Y. i. 128. Juslify. rrovc. 

V. i. 130-132. You . . . Ihn. Seo note on 1. 75, above. 

V. 1. 136. Whom. Attracted into accusative by "us." Cf. 
1. 70. above. 

V. i. 139. Woe. Sorry, grieved. 

V. i. 142. Of tchose soft grace. By whose kind favor. 

¥.1.14.1. Supportahle. Note transposition. Accent seems 
to be on first syllable. See Introd., p. 42. 

V. i. 146. Dew. Grevious. See note on II. i. 138. 

V. i. 154. Encoiiii'ter. Meeting. Cf. III. i. 74. Admire. 
Wonder. Cf. III. i. 37, note. 

V. i. 155. Dei^our their reason. A violent figure, probably 
suggi'sted by their open-mouthed amazement. 

V. i. 15G. 1)0 offices of truth, i. e., see truthfully. 

V. 1. 160. O/. From. See Introd., p. 47. 

V. i. 164. Relation. Narration. 

V. i. 171 Stage-dir Discovers. Reveals (by drawing the 
curtain of the inner stage). 

V. i. 196. Hers, i. e., her second father. 

V. i. 213. His own. His own master ; i. e., had control of 
his senses. 

V. i. 216. Is. See Introd., p. 45. 

V. i. 218. Blasfihemij. Abstract for concrete. Cf. "dili- 
gence" (1. 241), "conduct" (1. 244), and "malice" (I, ii. 367). 

V i. 219. Sivear'st grace o'erboaid because divine grace 
woald not protect a ship whore such blasphemy was being 
uttered. 

V. i. 223. Three glasses. Three hours by the hour-glass, as 
is made clear by I. ii. 239-241 in connection with 11. 4 and 
136, above. See note on I. ii. 240. Gave out. Declared. 

V. i. 224. Tight and yare. Without leak and ready (to 
sail). 

V. i. 226. Tricksy. A term of affection. Pretty, neat, fine. 

V. i. 230. Dead of sleep. Like dead men from sleep : or 
dead asleep. 

V. 1. 232. Several. Diffeient. 

V. i. 234, Moe. More. See II. i. 133, note. 

V. i. 236. Her. Fi. "our."" Freshly. In her fresh con- 
dition. Adverb instead of predicate adjective. 

V. 1. 238. Cap'ring to rye her. Dancing with joy at the 
sight. See Introd., p. 46. 

V. i 240. Moping. Bewildered. 

V. i. 244. Conduct of. Conductor of, responsible for. 

V. i. 246. Infest. Annoy, disturb. 

V. i. 248. Single. Alone. Resolre you. Explain to you. 



NOTES 195 



V. i. 249. Which to yoi( shall seem probable. Whioli (ex- 
planation) shall seem probable to you. 

V. i. 250. Accidents. Events. Cf. 1. 305, below. 

V. i. 258. Coragio. One of the numerous Italian terms in 
vogue. 

V. i. 259. True spies. Honest or trustworthy observers. 
Cf. "true," L 268, below. 

V. 1. 262. Fine, in his court garments. 

V. i. 267. Badges. The silver badges bearing the master's 
crest worn by servants at this time. 

V. i. 268, 269. Knave, his mother. "Knave his" may be a 
possessive. This construction is frequent in earlier English. 
Or it may be another anacoluthon. 

V. i. 271. Deal in her command. Wield the moon's powers. 
Without her power. Either (1) without the moon's author- 
ization ; or (2) beyond the moon's control. 

V. i. 272. Demi-devil. See I. ii. 319, 320. 

V. j. 279. Reeling ripe. Ripe, that is, drunk enough, for 
reeling. 

V. i. 279. 280. Should fliei/ find. Can they have found. 
Cf. Il.ii. 75. 

V. i. 280. Gilded. A polite slang phrase for "made drunk." 

V.i. 281,282. PicJde . .pickle. A pun on the slang and 
the literal meanings. 

V. i. 284. Fear flu-hlo icing. Cf. III. 1. 63, note. Recounts 
on the briny swamp he has been in as a preservative. 

V. i. 288. Sore. With double meaning, (1) smarting, (2) 
severe. 

V. i. 302. Waste. Spend. " 

y. i. 305. Accidents. Cf. 1. 250. note. 

V. i. 310. Retire me. Ketire is used by Shakspere re- 
flexively, by us only intransitively. See Introd., p. 46. 

V. i. 313. Talce. Charm. Deliver all. Tell overvthing. 
Cf. Il.i. 45. 

V. i. 316. Chick. Term of endearment, like the "bird" of 
IV. 1. 184. 

EPILOGUE. 

Epilogue. 10. Help of your good hands. The noise of the 
clapping would dissolve the spell. Cf. IV. i. 59, note ; and 
IV. 1. 126. 

Epilogue, 18. Mercy itself. The All-merciful. 



WORD INDEX 



Abhorr'd, I. ii. 273; I. ii. 351. 

abroad, III. i. 52 

absolute, I. ii. 109. 

abuse, V. i. 112. 

accidents, "V. i. 250; V. i. 305. 

aches, I. ii. 370. 

acres, IV. i. 81. 

admir'd, III. i. 37. 

Adrian, II. i. 28. 

advance, I. ii. 408. ( 

advanc'd, IV. i. 177. 

advantage, I. i. 37. 

adventure, II. i. 191, 192. 

affections, V. i. 18. 

after, II. ii. 83. 

ag-ed, IV. i. 262. 

a-hold, I. i. 54. 

air, V. i. 102. 

alone, lY. i. 231. 

amain, IV. i. 74. 

amazement, I. ii. 14; I. ii. 198. 

amen, II. ii. 107. 

an, II. i. 184; IV. i. 239. 

and princess, I. ii. 59. 

an if, V. i. 117. 

arch, IV. i. 71. 

are, I. ii. 397. 

Argier, I. ii. 261. 

arise^ I. ii. 169. 

art, I. ii. 1; I. ii. 25. 

as, IV. i. 178. 

aspersion, IV. i. 18. 

attach'd. III. iii. 5. 

attend, I. ii. 78; I. ii. 453. 

avoid, IV. i. 142. 

Badges, V. i. 267. 
banks, IV. i. 64. 
barnacles, IV. i. 249. 
bass, III. iii. 99. 



bate, I. ii. 250; II. i. 103. 

bated. III. iii. 85. 

bat-fowling, II. i. 189. 

bats, I. ii. 340. 

be, II. i. 266; III. i. 1. 

bear me, I. ii. 425. 

bear off, II. ii. 18, 

bear up. III. ii. 3. 

beetles, I. ii. 340. 

Bermcothes, I. ii. 229. 

berries, I I. ii. 334. 

best, I. ii. 429. 

be't to fly, I. ii. 190-1. 

betid, I. ii. 31. 

bird, IV. i. 184. 

bite. III, iii. 106. 

blasphemy, V. i. 218, / 

blind, IV. i. 90; IV. i. 194. 

blow, I. i. 8, 9; III. i. 63. 

blue-ey'd, I. ii. 269. 

boast, IV. i. 9. 

boatswain, I. i. 1. 

bold, IV.- i. 119. 

bombard, II. ii. 22. 

bondage. III. i. 89. 

book, II. ii. 146; III. i. 94. 

books. III. ii. 107. 

bootless, I. ii. 35. 

bosky, IV. i. 81. 

bottom, II. i. 231. 

bourn, II. i. 155. 

bow, II. i. 133, 134. 

boy, IV. i. 90. 

brave, I, ii. 6; I. ii. 206; I. ii. 

411; I. ii, 437, 438; II. i. 185. 
bravely, III, iii. 83. 
break, V. i. 54. 
breasts, III. iii. 47. 
brine-pits, I. ii. 338. 
bring, I. i. 40. 



196 



WOED INDEX 



197 



brims, IV. i. 64. 

broke, III. i. 37. 

brown furze, I. i. 72-73. 

brown groves, IV. j. CG. 

burden, I. ii. 381. 

burn, III. ii. 107. 

bush, II. ii. 156. 

but, I. ii. 119; I. ii. 414; I. 

4S7-4S9. 
butt, I. ii. 146. 

Cable, I. i. 36. 

can, IV. i. 27. 

canker, I. ii. 415. 

cankers, IV. i. 192. 

capable, I. ii. 353. 

cap'ring, V. i. 238. 

cares, I. i. IS. 

Carthage, II. i. 84. 

case, III. ii. 30. 

cast, II. i. 255. 

cat, II. ii. 95. 

cat o' mountain, IV. i. 263. 

catch, III. ii. 130. 

Ceres, IV. i. 60. 

certes. III. iii. 30. 

chang'd, I. ii. 441. 

chaps, II. ii. 98. 

charge, V. i. 8. 

charm, I. ii. 231. 

charm'd, IV. i. 178. 

charmingly, IV. i. 119. 

chase, V. i. 67. 

cherubin, I. ii. 152. 

chick, V. i. 316. 

chirurgeonly, II. i. 143. 

chough, II. i. 269-270. 

clear, III. iii. 82. 

clearer, V. i. 68. 

closeness, I. ii. 89-90. 

coil, I. ii. 207, 

cold, IV. i. 66. 

come, II. i. 257-258; II. ii. 93. 

come away, I. ii. 187. 

command, \'. i. 271. 

complexion, I. i. 34. 

condition, III. i. 59. 

conduct, V. i. 244. 



consider, III. ii. 110. 
constant, I. ii. 2C7; II. ii. 130. 
control, I. ii. 439. 
cooling, I. Ii. 222. 
coragio, V. i. 258. 
corollary, IV. i. 57. 
correspondent, I. ii. 297. 
ii. country, IV. i, 138. 
crabs, II. ii. :|.85. 
crack, I. ii. 203-4; V. i. 2. 
cramps, I. ii. 369; IV. i. 262. 
credit. III. iii. 25. 
cried. III. ii. 157. 
crisp, IV. i. 130. ) 

cry, I. ii. 32. 
cry it o'er, I. ii. 134. 

Dalliance, IV. i. 51. 
daughter, IV. i. 89. 
dead, II, ii. 36-37; III. i. 6; V. 

i. 230. 
deal, V. i. 271. 
dear, V. i. 146. 
dear'st, II. i. 138. 
debosh'd. III. ii. 31. 
deck. III. ii. 109. 
deck'd, I. ii. 155. 
dedicated, I. ii. 89-90. 
deity, II. i. 282. 
delicate, I. ii. 441; II. i. 41-44; 

II. ii. 102. 
deliver, V. L 313. 
deliver'd, II. i. 45. 
demi-devil, V. i. 272. 
demi-puppets, V. i. 36. 
departing. III. iii. 39. 
desert, II. i. 35. 
desperation, I. ii. 210. 
destiny, II. i. 256. 
device, III. iii. 52. 
devour, V. i. 155. 
devouring. III. iii. 84. 
dew, I. ii. 228; I. ii. 321. 
dew-lapp'd. III. iii. 45. 
Dis, IV. i. 89. 
discovered, V. i. 171. 
discretion, II. i. 191-192. 
disease, V. i. 85- 



198 



WOED INDEX 



dispersedly, I. iL, 3S2. 
distemper'd, IV. i. 145. 
distinctly, I. ii. 200. 
do, do, 1\. i. 2.']9. 
dog, II. ii. 15C. 
doit, II. ii. 35. 
dollar, II. i. 18. 
dolour, II. i. 19. 
dote, IV. i. 231. 
doublet, II. i. 105. 
dove-drawn, IV. i. 94. 
dowle. III. iii. 65. 
drawn, II. i. 312. 
dregs, II. ii. 46. 
drink, V. i. 102. 
drollery, III. iii. 21. 
dry, I. ii. 112. 
dukedom, V. i. IIS. 
dulness, I. ii. 185. 
dusky, IV. i. 89. 

Each, III. iii. 48. 
earth'd, II. i. 238. 
eaves, V. i. 17. 
ebb, I. ii. 435; II. i. 26( 
ecstasy, III. iii. 108. 
elements. III. iii. 61. 
elves, V. i. 33. 
encounter, V. i. l.")4. 
endeavor, II. i. 1G3. 
ended, IV. i. 14S. 
engine, II. i. 1G4. 
enterlain'd, II. i. 16. . 
entertainment, I. H. 465. 
envy, I. ii. 258. . 
estate, IV. i. 85. 
event, I. ii. 117; III. i. ( 
excel, II. i. 171. 
executor. III. i. 13. 
exercise, I. ii. 328. 
eye, II. i. .55; V. i. 238. 
eyes, I. ii. 441. 

Fade, I. ii. 399. 
fairly, IV. i. 31. 
fall, V. i. 64. 
fall it, II. i. 300. 
falls, III. iii. 80. 



fancy, V. i. 59. 

fares, V. i. 7. 

father, IV. i. 123. 

fearful, I. ii. 468. 

fear, V. i. 284. 

feater, II. i. 277. 

featly, I. ii. 380. 

features, III. i. 52. 

feed. III. iii. 49. 

fellow, III. i. 84. 

fellowly, V. i. 64. 

filthy-mantled, IV. i. 182. 

find, V. i. 279-280. 

fine, V. i. 262. 

firebrand, II. ii. 6. 

fish, II. ii. 31. 

fit, II. .ii. 83. 

five. III. iii. 48. 

flam'd, I. ii. 198. 

flatlong, II. i. 184. 

flesh, III. iii. 46. 

fiesh-fly, III. i. 63. 

float, I. ii. 2.34. 

flow, II. i. 226. 

fly-blowing, V. i. 284. 

foil. III. i. 46. 

f Olson, II. i. 166; IV. 1. 110. 

foot, I. ii. 469. 

foot it, I. ii. 380. 

footing, IV. i. 138. 

for, III. iii. 12. 

foreheads, IV. i. 250. 

forget. III. i. 13. 

forth-rights, III. Iii. 3. 

foundered, IV. i. 30-31. 

four, II. ii. 68-69. 

fraughting, I. ii. 13. 

freshes. III. ii. 77. 

fresh-brook, I. ii. 463. 

freshly, V. i. 236. 

friend, II. i. 302. 

frippery, IV. i. 226. 

from, I. ii. 65. 

from whom, II. i. 254. 

frustrate. III. iii. 10. 

full. I. ii. 20. 

fumes, V. i. 67. 

furlong, I. i. 71. 



WORD INDEX 



199 



Gaberdine. II. ii. 43. 
garners, IV. i. 111. 
gave, V. i. 8. 
gilded, V. i. 2S0. 
gins. III. iii. 106. 
give ground, II. ii. 69. 
glasses, I ii. 2-40; V. i. 22; 
glut, I. i. 66. 
go, II. ii. 85-86. 
gave out, V. i. 223. 
generation, III. iii. 33. 
genius, IV. i. 27. 
gentle, I. ii. 4G8. 
gentleness, I. ii. 165. 
gently, I. ii. 208. 
go sleep, II. i. 194. 
golden age, II. i. 171. 
good, I. i. 3; I. i. 17; III. 
good my lord, II. i. 190. 
good sir, II. i. 144. 
grace, V. i. 142; V. i. 219. 
graces, V. i. 70. 
grave, I. ii. 189. 
green, V. i. 37. 

Ha, ha, ha! II. i. 36. 
hag-seed, I. ii. 365. 
hair, IV. i. 237-238. 
hands, epilogue, 10. 
hark, IV. i. 259. 
harmless, IV. i. 129. 
harp, II. i. 87-88. 
harpy, III. iii. 52. 
have, I. ii. 148. 
heads. III. iii. 47. 
hear, I. ii. 433-6; II. i. 194 
heavily, iV. i. 138. 
heaviness, I. ii. 307. 
heavy, II. i. 193. 
heavy offer, II. i. 198. 
hedgehogs, II. ii. 10. 
heed, II. i. 224. 
help, epilogue, 10. 
her, V. i. 2.36. 
here, II. ii. 143. 
hers, V. i. 196. 
hest, IV. i. 65. 
hests, I. ii. 274. 



206. 



high, V. i. 2.".. 
hills, V. i. 33. 
hint, I. ii. i:;4. 
hint of, II. i. 3. 
his, I. ii. 295; II. 
his own, V. i. 213 
hoist, I. ii. 148. 
holp, I. ii. 63. 
home, V. i. 71. 
hoodwink, IV. i. 
hot, IV. i. GS. 
human, III. iii. .33. 
human care, I. ii. .340. 
humhle, III. i. 87. 
humming, II. i. 321. 
Hymen, IV. i. 23. 

I, IV. i. 21S. 
idle, II. i. 169. 
ignorant, V. i. 67. 
impertinent, I. ii. 138. 
in a sort, II. i. 107. 
in few, I. ii. 144. 
in good time, II. i. 97. 
incharitahle, I. i. 47. 
inch-meal, II. ii. 3. 
Indian, II. ii. 36-37. 
infected, III. i. 31. 
infest, V. i. 246. 
influence, I. ii. 182. 
inhabit. III. iii. 57. 
inhabits, \ . i. 105. 
inherit, II. ii. 194: IV. 
injunction. III, i. 11. 
inquisition, I. ii. 35. 
instrument, III. iii. 54. 
invert. III. i. 70. 
Iris, I\. i. .59. 
is, V. i. 216. 
is nothing but, III. iii. 
it, I. ii. 494; II. i 

80; III. iii. 71. 
it goes on, J. ii. 419 
its, I. ii. 393. 

Jack, IV. i. 198. 
jerkin, IV. i. 236. 
jesting, III. ii. 54. 



123; II. ii. 22. 



154. 



i. M. 
166: III. 



200 



WORD INDEX 



justify, V. i. 12S. 
justle, III. ii. 30. 

Keep, II. i. 263. 

keepers, III. iii. 20. 

kept, I. ii. 44. 

kibe, II. i. 2S0. 

kind, III. i. 69; III. iii. 20. 

kindlier, V. i. 24. 

kinds. III. iii. 88. 

King Stephano, IV. i. 222. 

kiss, II. ii. 146. 

knave, V. i. 268-269. 

knit up in. III. iii. 89-90. 

knot, 1. ii. 224. 

know, I. ii. 422-423. 

Labour, III. i. 1. 

lady, I. ii. 179. 

lakin, III. iii. 1. 

lass-lorn, IV. i. 68. 

laughter, II. i. 33. 

lays it on. III. ii. 166. 

leagues, II. i. 251. 

learn, II. ii. 75. 

learning, I. ii. 365. 

leas, IV. i. 60. 

leather, II. ii. 80. 

legs, II. ii. 68-69. 

let loose, II. ii. 39. 

let's, IV. i. 231. 

letters, II. i. 153. 

level, IV. i. 239. 

liberty, I. ii. 492. 

lie, III. ii. 23. 

lies, IV. i. 265. 

lieu, I. ii. 123. 

life, II. i. 251; III. iii. S6. 

like, III. iii. 66; IV. i. 237-238; 

IV. i. 239. 
lime, IV. i. 246. 
line, IV. i. 193; IV. i. 235; IV. i. 

239. 
line-grove, V. i. 10. 
list, III. ii. 20; III. ii. 142-143, 
litter, I. ii. 281-282. 
liver, IV. i. 56. 
long, II. ii. 112. 



long heath, I. i. 72-73, 
loose, IV. i. 237-238. 
lord, II. i. 236. 
lorded, I. ii. 97, 
loving wrong, I. ii. 151. 
lush, II. i. 52. - 

Mad, I. ii. 209. 

maid, III, i, 84. 

main-course, I. i. 40. 

make, II. ii. 34, 

malice, I. ii. 367. 

man, II. ii. 34, 

manage, I. ii. 70, 

manners, III. iii. 31-32. 

mantle, V. i. 67, 

many-coloured, IV. i. 76. 

marmoset, II. ii. 1S8. 

marry, III. ii. 48. 

marvellous. III. iii. 19. 

massy, III. iii. 67. 

masters, V. i. 41. 

matter, II. i. 234. 

me, I. ii. 24i; I. ii. 496; III. 

iii. 4. / 

meanders. III. iii. 3. 
meaner. III. Iii. 87. 
meddle, I. ii. 22. 
meeJ with, IV. i. 166. 
men III. i. 51. 
mercj, epilogue, 18. 
mercy oii us, I. i. 67-69, 
merely, I. i. 61. 
methirks, I. i. 33. 
Milan, I. ii. 109; II. i. 115; V. i. 

86. 
mine. III. iii. 93. 
minion, IV. i. 98. 
minister, II. i. 176. 
ministers, I. ii. 131; III. iii. 87. 
miraculous, II. i. 87-88, 
mischief, IV, i. 217. 
miss, I. ii. 311. 
miss't, II. i. 40, 
mistress, IV. i. 235. 
mocks. III. iii. 82. 
moe, II. i. 136; V. i. 234. 
mole, IV. I. 194. 



WOED INDEX 



201 



monkey, III. ii. 54. 

monstrous, III. iii. 31; III. iii. 95. 

moody, I. ii. 244. 

moon-calf, II. ii. 120. 

mop, IV. i. 47. 

moping, V. i. 240. 

more, HI. i. 51. 

more tetter, I. ii. 19. 

more braver, I. ii. 439. 

mother, T. i. 268-269. 

mount, II. ii. 11. 

mouths he cold, I. i. 58. 

mov'd, IV. i. 146. 

mow, II. ii. 9; IV. i. 47. 

mows, III. iii. 82. 

much, II. ii. 87-88. 

mudded, III. iii. 102. 

murrain. III. ii. 91. 

muse. III. iii. 36. 

myself, V. i. 22. 

Naples, I. ii. 434. 

natural, III. ii. 38. 

nature, V. i. 76. 

near, II. ii. 85-86. 

neat's, II. ii. 80. 

Neptune, V. 1. 35. 

nerves, I. ii. 484. 

never, I. ii. 435. 

next, III. ii. 42. 

nimhle, II. i. 177; II. i. 206. 

ninny, III. ii. 73. 

no, IV. i. 59. 

no greater, I. ii. 21. 

nobly. III. i. 3. 

nobody, III. ii. 140. 

nonpareil. III. ii. 112. 

nor cannot, III. iii. 16. 

nor go neither. III. ii. 23. 

nor hath not, III. ii. 105. 

nor no, I. ii. 406. 

not gone forth, I. ii. 448. 

note, II. i. 252. 

nothing, II. i. 173. 

now, I. ii. 169; I. ii. 179. 

nurture, IV. i. 189. 

Observation, III. iii. 87. 
odd angle, I. ii. 223. 



o'erboard, V. i. 219. 

o'er-priz'd, I. ii. 92. 

of, V. i. IGO. 

office, I. i. 43. 

offices, V. i. 156. 

old; I. ii. 369. 

omit, I. ii.. ie:3; II. i. 19S. 

on, IV. i. 157; V. i. 4. 

on the top. III. iii. 17. 

one, I. ii. 266; III. iii. 48. 

on't, I. ii. 87; I. ii. 363 

ooze, I. ii. 252. 

open-ey'd, II. i. 305. 

opportune, IV. i. 26. 

or, IV. i. 30-31. 

or ere, I. ii. 11; V. i. 103. 

oracle, IV. i. 12. 

out, I. ii. 41. 

overtopping, I. ii. 81. 

ow'd, III. i. 45. 

owes, I. ii. 407. 

ow'st not, I. ii. 454. 

Painful, III. i. 1. 

pains, I. ii. 242. 

painted, II. ii. 31. 

Paphos, IV. i. 93. 

pard, IV, i. 263. 

parent, I. ii. 94. 

pass, IV. i. 244. 

passion, I. ii. 392; IV. i, 143; V. 

i. 24. 
pate, IV. i. 244. 
paunch, III. ii. 102. 
peacocks, IV. i. 74. 
peer, IV. i. 222. 
perdition, I. ii. 30. 
persuade, II. i. 2.39-240. 
pertly, IV. i. 58. 
Phoebus Apollo, IV. i. 30-31. 
phoenix, III. iii. 23. 
pickle, V. i. 281-282. 
piece, I. ii. 56. 
pied. III. ii. 73. 
pig-nuts, II. ii. 186. 
pioned, IV. i. 64. 
piteous, I. ii. 14. 
plague, I. ii. 364. 



202 



WORD INDEX 



plantation, II. i. 146. 

play'd, ly. i. 198. 

pluck, V. i. 127. 

plummet, III. iii. 101. 

pocket up, II. i. C7. 

point, I. ii. 194. ' 

pole-clipp'd, IV. i. CS. 

poor John, II. ii. 29. 

post, II. i. 252. 

power, V. i. 27. 

pox, I. i. 46. 

pox o' that, II. i. 77. 

praise. III. iii. 39. 

prayer, I. ii. 422-423. 

premises, I. ii. 123. 

present, I. i. 26. 

presented, IV. i. 107. 

presently, I. ii. 125; IV. i. 42; 

V. i. 101. 
prime, I. ii. 425. 
princess, I. ii. 173. 
printless, V. i. 34. 
prohahle, V. i. 249. 
professes, II. i. 239-240. 
profit, I. ii. 172: I. ii. 313. 
proper, II. ii. 0S-C9; III. iii. 60. 
provokes, I. ii. 14n. 
purchas'd, IV. i. 14. 
put. III. i. 40. 
put off. III. iii. 7. 
putter-out. III. iii. 48. 

Quaint, I. ii. 317; III, iii. 52. 
quality, I. ii. 193. 
queen, IV. i. 70. 
quick. III. ii. 77. 
quickens. III. i. 6. 

Rabble, IV. i. 37. 

race, I. ii. 358. 

rack, IV. i. 156. 

rare, IV. i. 123. 

rarer, V. i. 27. 

rate, I. ii. 92; II. i. 112. 

raven's feather, I. ii. 322. 

reapers, IV. i. 138. 

reason, V. i. 155. 

reasonable, V. i. 81. 



recover, II. ii.. 77. 

red, I. ii. 364. 

reeds, V. 1. 17. 

reeling, V. i. 279. 

rejoice, V. i, 39. 

relation, V. i. 164. 

release, V. i. 11. 

relish, V. i. 23. 

remain, I. ii. 423. 

remember, I. ii. 243;' I. ii. 405. 

remembrance, II. i. 236. 

remorse, V. i. 76. 

remove, II. ii. 85, -S6. 

requit, III. iii. 71. 

resig-n, V. i. 118. 

resolve, V. i. 248. 

retir'd, I. ii. 91. 

retire me, V. i. 310. 

revels, IV. i. 148. 

revenue, I. ii. 98. 

rid, I. ii. 364. 

right out, IV. i. 101. 

ringlets, V. i. 37. 

ripe, V. i. 279. 

room, I. i. 9. 

rope, I. i. 36. 

rounded with, IV. i. 158. 

royalties, I. ii. 110. 

run. III. ii. 22. 

Sack, II. ii. 137. 
sad, I. ii. 224. 
safe. III. i. 21. 
safely, I. ii. 226. 
saffron, IV. i. 78. 
sanctimonious, IV. i. 16. 
sans, I. ii. 97. 
scamels, II, ii. 190. 
scandal'd, IV. i. 90. 
scurvy, II. ii. 50. 
secret, I. ii. 77. 
securing, II. i. 314. 
sense, II. i. 110. 
senses, V. i. 53. 
sensible, II. i. 177. 
service, II. i. 154. 
set, III. ii. 10. 
Setebos, I. ii. 373. 



WOED INDEX 



203 



sets off, III. i. 2. 
setting:, II. i. 2P.n. 
several, III. i. 42; V 
she, III. ii. ll.-?. 
she that, II. i. 254. 
shew, V. i. 63. 
shore, V. i. SI. 
shroud, II. ii. 46. 
signories, I. ii. 71. 
single, I. ii. 4o2; V. 
sink, II. i. 20.5. 
sixth hour, V. i. 4. 
skilless, III. i. 53. 
sky, IV. i. 70. 
slave, I. ii. 351-362, 
slavery, III. i. 62. 
sleep, V. i. 230. 
so, so, so, V. i. 96. 
sociable, V. i. 63. 
some wrong, I. ii. 443. 
something, I. ii. 414. 
sometime, V. i. S6. 
son, I. ii. 437-438. 
sooth, II. ii. 163. 
sore, III. i. 11; V. i. 288. 
sort, II. i. 107; IV. i. 146 
sot, III. ii. 105. 
soul, I. ii. 29. 
sound, I. ii. 406. 
sour, V. i. 37. 
south-west, I. ii. 323. 
sparrows, IV. i. 100. 
speaks, II. i. 211. 
sphere, 11. i. 186. 
spies, V. i. 259. 
spoke, IV. i. 31. 
spiriting, I. ii. 298. 
spirits, III. iii. 106. 
spongy, IV. i. 65. 
spoon, II. ii. 112. 
sports, III. i. 7. 
spring, IV. i. 114-115. 
staff, V. i. 54. 
stale, IV. i. 1S7. 
stand to, III. iii. 49. 
standard, III. ii. 19. 
standing water, II. i. 225. 
steaded much, I. ii. 1G5. 



stick, I. ii. 472. 

still, IV. i. lOS. 
. 232. still-closing. III. iii. 64. 

still-vex'd, I. ii. 229. 

stinking pitch, I. ii. 3. 

stock-fish, III. ii. 81. 

stomach, I. ii. 1.17; II. 

stood. III. iii. 47. 

stover, IV. i. 63. 
248. strange. III. iii. 87. 

strangely, IV. i. 7. 

strengths. III. iii. 67. 

strike, I. ii. 2S0. 

sty. I. ii. 342. 

substitution, I. ii. 103. 

subtle, II. i. 41-44. 

subtleties, V. i. 124. 

succession, II. i. 154. 

sudden, II. i. 310. 

suffer, III. i. 62. 

suffered, II. ii. 41. 

suggestion, IV. i. 26. 

supplant, III. iii. 70. 

supportable, V. i. 14.5. 

sustaining, I. ii. 218. 

swabber, II. ii. 52. 

swear'st, V. i. 219. 

Tabor, III. ii. 1.37. 
take, II. i. .306; s II. ii. 

i. 313. 
take't. III. ii. 142-143. 
tang, II. ii. 5G. 
teen, I. ii. 64. 
tell, II. i. 15; III. ii. 1. 
temperance, II. i. 42-43. 
temperate, IV. i. 132. 
temper'd. III. iii. 02. 
temporal, I. ii. 110. 
ten, II. i. 251. 
that, I. ii. 85: II. i. 82: 

III. ii. 110: IV. i. 89. 
that's, I. ii. 415. 
thatch'd, IV. i. 63. 
thee, II. ii. 1-56; III. ii. 
then, II. i. 189. 
there is, I. ii. 478..^ 
therefore. III. iii. 100. 



V. 



204 



WORD INDEX 



thing, I. ii. 266; III. ii. 65. 

third, IV. i. 3. 

thought, IV. i. 164. 

thou'rt hest, I. ii. 366. 

throes, II. i. 235. 

throughly. III. iii. 14. 

thy, V. i. 130-132. 

tight, V. i. 224. 

tilth, •!. i. 155. 

time, II. i. 141; II. i. 306; II. ii. 

154. 
time goes, V. i. 2-3. 
to, I. ii. 480-481; II. i. 75. 
toads, I. ii. 34U, 
*oil, I. ii. 242. 
tongue, IV. i. 59. , 
topsail, I. i. 7. 
traffic, II. i. 151. ^ 
trash, I. ii. 81. 
trehles, II. i. 225. 
tree. III. ii. 42. 
.tremhling, II. ii. 91. 
trenchering, II. ii. 201. 
trespass. III. iii. 99. 
tricks, I. ii. 210; II. ii. 65. 
tricksy, V. i. 226. 
trident, I. ii. 206. 
trifle, V. i. 112. 
troll, III. ii. 130. 
true, V. i. 259. 
trumpery, IV. i. 186. 
truth, I. ii. 99-102; V. i. 156. 
try, I. i. 40. 
Tunis, II. i. 84. 
tutor, I. ii. 469. 
twilled, IV. i. 64. ^ 

twink, IV. i. 43. 

Unhack'd, IV. i. 176. 
undergoing, I. ii. 157. 
undergone. III. i. 3. 
uneasy, I. ii. 451. 
unicorn. III. iii. 22. 
unsettled, V. i. 159. 
up-staring, I. ii. 213. 
lU'chins, I. ii. 326. 
urchin showg, II. ii. 5. 
«c, II. i. 263. 



use, II. i. 154. 
utensils. III. ii. 108. 

Vanity, IV. i. 41. 
vast, I. Ii. 327. 
verdure, I. ii. 87. 
verily, II. i. 325. 
villainous, IV. i. 250. 
virtue, I. ii. 27. 
virtues. III. i. 42. 
visitor, II. i. 11. 
vouchsafe, I. ii. 422-423. 

Wallets, III. iii. 46. 

want. III. i. 79; III. iii. 25; III. 

iii. 38; IV. 1. 58. 
wanton, V. i. 95. 
ward, I. ii. 471. 
waspish-headed, IV. 1. 99. 
waste, V. i. 302. 
water, I. ii. 334. 
watery, IV. i. 71. 
ways, II. ii. 98. 
weak, V. i. 41. 
wearily. III. i. 32. 
weather-fends, V. i. 10. 
weigh, II. i. 8-9. 
weigh'd, II. i. 133. 
welkin's cheek, I. ii. 4. 
well demanded, I. ii. 139. 
well drawn, II. ii. 162. 
wench, I. ii. 139; I. ii. 411; I. Ii. 

479. 
went, II. ii. 68-69. 
wezand. III. ii. 103. 
what, II. i. 257-258; III. i. 72; 

IV. i. 33. 
whe'er, V. i. 111. 
whelp, I. ii. 281-282. 
when, I. ii. 316. 
which, I. ii. 156; I. ii. 352; I. ii. 

413; II. i. 28; III. i. 6. 
which to do, II. i. 224. 
while-ere. III. ii. 131. 
whiles, II. i. 221. 
whist, I. ii. 379. 

who, I. ii. 7; I. ii. 162; II. i. 130; 
^ III. 4. 93; IV. i. 4. 



WOED INDEX 



205 



who is, II. i. 113. 

whom, III. iii. 62; III. iii. 92; V. 

i. 76; V. i. 136. 
whose. III. iii. 79. 
wicked, I. ii. 321. 
wide-chapp'd, I. i. 62. • 
wind, I. i. S-9. 
winding, IV. i. 128, 
wings, IV. i. 7S. 
wink'st, II. i. 220. 
wise, iv. i. 123. 
wisest, IT. ii. S3. 
withal. III. ii. 109. 
woe, "V. i. 139. 
wonder, I. ii. 426. 
wond'red, IV. i. 123. 



wooden. III. i. 62, 
work, III. iii, 105. 
worm, III. i. 31, 
worser, IV. i, 27, 
wound, II, ii. 13. 
wrongs, V. i. 25; V. i. 119, 

Yare, V. i. 224. 

yarely, I. i. 4. 

year, I. ii. 250. 

yield, II. i. 235; III. ii. 70. 

yond, I. ii. 409. 

you, II. i. 302; III. iii. 56; V. 

61; V. i, 75; V. i. 130-132. 
your, I. ii. 1. 

Zanith. I, ii, 181, 



APPENDIX 

(Adapted, and enlarged, from the Manual for the Study 
of English Classics, by George L, Marsh) 

HELPS TO STUDY 
The Drama 

In what did the drama originate? 

Describe briefly the miracle plays, or ''mysteries," tell- 
ing where they were performed, by whom, and what, in 
general, was their subject matter (pp. 13-16). 

What elements were contained in the miracle plays that 
had an influence toward the development of comedy? 

What were moralities? Interludes? 

What foreign influences contributed to the develop- 
ment of the Elizabethan drama (pp. IS, 19) ? 

Name several of Shakspere 's predecessors in the drama. 
Who was the greatest of them? 

Describe briefly the theater of Shakspere 's day (pp. 
25-6). The characteristics of an Elizabethan audieace. 
Did Shakspere write his plays for posterity or to please 
an audience of his own time? 

Shakspere 's Career 

When and where was Shakspere born? 
What can you say as to his education (p. 20) ? , His 
occupations before he went to London? 

What do we know about his early years in London? 
What were his first dramatic efforts (p. 22) ? What 
206 



- APPENDIX 207 

other literary work, besides the writing of plays, did 
he do? 

Leani the general characteristics of Shakspere's work 
during each of the four periods into which it is divided, 
and the names of representative plays of each period 
(pp. 27-30). 

Perry Pictures 73-75 have to do with Shakspere and 
his home. 

The Tempest — The Play in Detail 

Just what is the situation presupposed, and how do we 
learn it (principally pp. 57-64, but there are also hints 
elsewhere, which should be picked out and put together) ? 

Why "does Shakspere have the play begin with a storm? 
Is there any hint in I, i, that the storm is magic? Let 
any available person acquainted with sailing exi:)lain, as 
nntechnically as possible, the seamanship of the first 
scene and test its soundness. 

Why does Prospero so repeatedly urge Miranda 's at- 
tention during his narration in I, ii (e. g., p 59) ? Is he 
al)stracted, or she, or is she already feeling drowsy? Why 
is she made to sleep? 

Note, in I, ii, the rousing of anxiety in relation to the 
storm (pp. 55, 56), followed very speedily by relief. 
Note also devices for breaking up Prospero 's narrative. 

Why is Ferdinand made the first to leave the ship 
(p. 66) ? Why have him separated from the others? 

Why should Prospero and Ariel quarrel in I, ii? (Note 
that opportunity for the relation of Ariel's history is 
given, and there is character revelation.) Does Prospero 
soem needlessly harsh? Why is it helpful to have the 
pa5;t history of Ariel and Caliban put before us so fully? 

What is the purpose of Ariel's song to Ferdinand 
(pp. 75-76) ? What is to be said of the song as poetry? 
Why does Prospero treat Ferdinand harshly? 

Do you find any of the thii^gs said, or any of the inci- 



208 APPENEi:: 

dents, in Act 1, somewhat forced, somewhat lacking in 
motive? If so, can you assign reasons for this? 

What additional light is given, as to plot and charac- 
ters, in the first part of II, i — before all but Sebastian 
and Antonio fall asleep? What purposes of plot or ac- 
tion are served by the introduction of Alonzo 's daughter 
Claribel? 

How and why does Ariel prevent the success of the 
counterplot of Antonio and Sebastian? Might it not 
have been to Prosperous advantage to have Alonzo killed, 
since Ferdinand would have succeeded? Is it a defect 
in the play that danger from this counterplot is so soon 
removed? 

Which seems likelier — that Shakspere intended the talk 
about Gonzalo's ideal commonwealth (pp. 89, 90) to be 
satirical, or that he was favorable to Utopian schemes? 

Who comes out best at last in the wit combat — the 
quick Antonio and Sebastian, or the thoughtful Gonzalo? 

Compare Antonio's suggestions of murder (pp. 95, 96) 
with similar speeches in other plays of Shakspere (e. g., 
by Macbeth, King John, Oliver in As You Like It, 
Claudius) . 

In II, ii, how far is the second counterplot (whicli is 
fully revealed in III, ii) foreshadowed? 

What justification is there in III, 1, for the assertion 
that the chief key-note- of this play is ' ' that true freedom 
consists in service ' ' ? 

The 'Hove at first sight" of Ferdinand and Miranda 
may profitably be compared with similar love affairs else- 
where in Shakspere — Eomeo and Juliet, Orlando and 
Eosalind, etc. 

How is the plot against Prospero interfered with in 
III, ii? Is the part of Ariel in this scene effective as 
comedy? How should it be handled in stage presentation? 

What is the effect of the ' ' living drollery ' ' and ' ' quaint 
device" of III, iii, upon the ''three men of sin" for 



APPENDIX 209 

whom it was designed? In what way, or for what reason, 
could this be called the climax of the play? 

What is the dramatic purpose of the masque of god- 
desses in IV, if Does it delay the action unduly at a 
critical juncture? 

Why is Prospero so much disturbed (p. 134) at his 
remembi-ance of so paltry a plot as that of Caliban and 
his companions? How is Caliban's superior caution in 
relation to the ' ' glistering apparel " to be explained ? 

Note the purely corporal nature of the punishment of 
the lesser plotters. How does it differ from the punish- 
ment of those in higher station? To what extent does the 
dramatist's desire for comic action account for this? 

What distinctions does Prospero make among the sin- 
ners whom he pardons in V, i, and why? Is there any 
reason to suppose that Antonio, Sebastian, and Trinculo 
are repentant? Is it out of character for Caliban to be? 

General Considerations 

When was The Tempest first published? What place 
in the order of plays did it occupy (p. 32) ? What in- 
ference was drawn? What are the reasons for aban- 
doning this inference? Find examples of the various 
characteristics mentioned on page 32. What external 
evidences are there of the late date of The Tempest.'' 
W^hat possibility as to the position of this among Shak- 
spere's plays? Interpret in detail, in the light of this 
possibility, Prospero 's abandonment of his magic. 

What are the principal suggestions as to direct sources 
of The Tempest (pp. 34, 35) ? What documents probably 
suggested details (pp. 35-37)? Discuss the need of 
searcliing for sources. Mr. Kipling's suggestions (men- 
tioned on p. 36) are interesting as to the way in Avhich a 
skillful author may make use of odds and ends of in- 
formation that he picks up from day to day. 

Study the play carefully for the purpose of testing the 



210 APPENDIX 

editor's statement (p. 8) as to the lack of the element 
of conflict. Search out the ''devices for the sustaining 
of interest." Discuss the editor's statement as to the 
simplicity of the drawing of character. Find examples 
of the elements of charm that are mentioned (p. 9). 

What is unity of time? Unity of place? To what ex- 
tent is each observed in The Tempests 

Note the unusual amount of music provided for; the 
situations in which there is music; the kind of music ren- 
dered; the effect intended and secured, etc. 

The Tempest and A Midsummer-Night's Dream aro 
particularly suitable for comparison. Discuss Victor 
Hugo 's statement that the latter depicts the action of the 
invisible world on man; the former, the action of man on 
the invisible world. For tojoics regarding the latter play 
see the Lake Classic edition of it. 

Pay special attention always to the notes as to the main 
functions of whole scenes or acts (pp. 161, 163, etc.). 
Search out specific evidences of the editor's assertions; 
or criticize them if there seems to be any reason for 
criticism. 

Where is prose used in this play (p. 38) f Examine the 
passages and test the reasons for the use of prose. Com- 
pare with other plays in this regard. 

Where is rime used (p, 38) ? Compare particularly 
with A Midsummer-Night ^s Dream in this respect. Witli 
Samlet. 

Find examples of your own of the metrical variations 
listed on pages 39-42. Of the peculiarities of language 
discussed on pages 42-47. 

A very great number of allegorical interpretations of 
The Tempest have been suggested, to w^hich the editor of 
the Lake edition — perhaps wisely — pays scarcely any at- 
tention. He mentions (p. 33) the possible symbolization 
of Shakspere himself by Prospero. It is also interesting 
to note the obvious facts that Ariel is a spirit of air, 



APPENDIX 211 

Caliban of earth; and that the former may very well 
symbolize the fancy, the latter the animal propensities 
or the brute understanding. 

Why is Ariel represented as invisible to everybody in 
the play but Prospero"? Compare him with Puck in A 
Midsummer-Night 's Dream. 

Note the possible relation of the name Caliban to can- 
nibal (p. 161). Is Prosperous tyranny over him wholly 
justified? What indications are there as to his mental 
powers? Why does he speak in verse? Comparison (if 
simplified) may be made with Browning's elaboration 
of Shakspere's portrait, in ''Caliban upon Setebos. " 

Is any of Miranda 's talk inconsistent with the maidenly 
character ascribed to her? Is she undutiful to her father? 
Should she be represented as ignorant, or only innocent 
of the world? Is the love of Ferdinand and Miranda 
wholly an enchantment caused by Prospero? Is it true 
that these lovers are undeveloped characters whose rela- 
tion to each other is more important to the play than they 
themselves are? 

How is Alonzo distinguished from Sebastian and An- 
tonio? Have the two latter distinct individuality in vil- 
lainy? Are Stephano and Trinculo differentiated? Are 
they more highly developed personages than Caliban? Is 
the Boatswain made a distinct and clearly individual char- 
acter? 

What difficulties are there in the stage presentation of 
The Tempest? Can it be given with real effectiveness? 
What parts are most effective? It may be noted here 
that Dryden made a singular stage version. 



212 APPENDIX 

THEME SUBJECTS 

See subjects on other plays by Shakspere in the Lake 
edition. 

1. Sources for The Tempest (pp. 33-38) — sum up 
suggestions and the plausibility of them. 

2. The situation presupposed by the play. 

3. The story of Ariel before the play begins (may be 
supplemented imaginatively — but in harmony). 

4. The story of Caliban (as next above). 

5. The general plot structure of Tlie Tempest. Note 
the various stories and how they are related. 

6. Narrative themes on distinct smaller units within 
the plot, such as: 

Prosperous revenge. 

The love of Ferdinand and Miranda. 

The plot against Alonzo. 

Caliban's conspiracy. 

7. Character sketches of Prospero, Gonzalo, Miranda, 
Ferdinand, the noble villains, the vulgar villains. 

8. Ariel and Puck. 

9. Caliban, (This may be a simple characterization 
of him as he appears in the play; a discussion of syi|i- 
boiic interpretations; or a comparison with Browning's 
Caliban.) 

10. The use of music in TJie Tempest. 

11. The Tempest and A Midsummer-Night's Dream. 

12. The Tempest on the stage. 

13. An interpretation of The Tempest on the assump- 
tion that it was Shakspere 's last play. Let the passages 
that fit in with this assumption be picked out and ex- 
plained. 












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